Godzilla Minus One is most definitely worth watching. I have no nostalgia or any particular like for the million Godzilla films in existence and I still enjoyed it.
The takeaway is that it’s a really great alternate history period piece about a giant monster attacking Japan in 1954. I especially liked that as a period piece, it shows all the historical stuff that you wouldn’t see in a contemporary movie since it would assume that the audience already knows about it – i.e., people living in shacks built on the ruins of their houses, demobilized soldiers trying to find work, the overwhelming presence of the war suffusing everything in postwar society, etc. Basically we see what it looks like when an empire is destroyed.
The biggest criticism I have is political. The movie shows the aftermath of the war, but it doesn’t show what Japan did to bring the war in the first place. The war is presented like a natural disaster that befell the suffering nation. And the final plan to defeat Godzilla involves the Japanese version of the clean Wehrmacht myth (the idea that certain parts of the military were honourable even if their leaders weren’t). See, the stalwart and upright (demobilized) soldiers along with scientists and business leaders from private industry get together to devise clever strategies to defeat an existential threat, which if you think about it rather sounds like how fascism works in the first place. Really puts kind of a bad taste in my mouth.
I know, I sound just like in my review of 13 Sentinels. I suppose Japan has yet to fully grapple with its wartime legacy, but been so long that it’s almost just historical trivia now. I suppose once the children of the imperialist generation finally die out or get assassinated then we’ll get a more sober understanding of what Japan did in its media. But if you can compartmentalize your reaction to how this Godzilla movie treats Japanese fascism, then you’ll discover a quite well-made film.
I guess the region is booming and they’re building stuff that’s been sorely needed for decades. The railways are especially impressive considering how mountainous and jungled most of the region is. And yes, they do have high-speed rail, or will shortly in a couple of months (the Jakarta to Bandung HSR is opening later this year).
Honestly, it’s startling to read about someplace that actually gives building public transit the priority it deserves. And there’s a ton of infrastructure being built: bridges, airports, hospitals, and so on and so on.
It’s strange to live in the End of History – also known as the developed world – and peek at someplace where history still happens. Here in dear old declining Canada, the political establishment seems to think that we’ve reached the final perfect society and all that remains is to keep things at a steady state. It’s of course a bullshit mindset that delays the very necessary and radical reforms that we need to get out of our downward spiral (try googling “Canada housing crisis” sometime, or “Canada cost of living”, or maybe “Canada healthcare crisis”).
But in Southeast Asia, the leaders and the people are very much aware that they need massive structural changes and are frantically doing everything that they can to push those through. And maybe they might. The region’s GDP growth rates have been ridiculously high for the past 20-30 years, ranging between 3-8 percent when 2 percent is considered booming in the Global North.
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I’ll be honest, I’ve spent the last while watching Youtube videos projecting country GDPs like the one below about the Top 20 Largest World Economies. I like to keep my eye out for members of the Association of Southeast Asian Nations. Watch for Indonesia getting on the board in 2005 then being joined by Vietnam in 2044 and the Philippines in 2048. It’s oddly relaxing to see the masters of the world like the Netherlands and Switzerland drop out of sight and get supplanted by the likes of Bangladesh and Iran.
Obviously the projections are hogwash. They’re merely current GDP growth rates taken to their mathematical endpoint. Any number of things could throw a spanner into the works: a war, another pandemic, a revolutionary new technology, a terrible climate breakdown. The projection is most believable the closer it is to the present day.
But just look at that chart in 2100. China and India are struggling for dominance, the US is at #3, then come Indonesia and the Philippines while Vietnam, Nigeria, Brazil, Pakistan, and Bangladesh fill out the top 10. Has any near-future science fiction story ever imagined this kind of world? I wish I could live long enough to see if this ever comes to pass.
Ah, what a thing it is to still be optimistic about the future. It’s a strange thing to glimpse from the other side of history.
I just saw the 2021 Oklahoma Ghostbusters (a.k.a. Ghostbusters: Afterlife). It’s about the grandkids of one of the original Ghostbusters who move to the farm their gramps owned. They never met old Egon Spengler, but he happened to die right when they were getting evicted from their New York apartment, so off the family goes to live in flyover country. As far as they know, he was just a crazy old geezer, but they quickly learn there was an apocalyptic reason a hunter of the supernatural moved to the middle of nowhere.
This movie is like other modern sequels in that it retreads the ground that its forebear covered. But somehow I didn’t find the nostalgia annoying, likely because instead of just making constant references to a movie from the 80s, it was directly trying to be a movie from the 80s – in its directing choices, in the design of its sets and props, and even in its CGI that mimics the look of the special effects from the first Ghostbusters. In fact the only real indication that it’s set in the 21st century – besides the fact that the characters say that the year is 2021 – is that smartphones and Youtube exist.
Anyway, the deliberate 80s throwback is obviously why the movie cast Wolf Gunblood or whoever the hell that kid is from Stranger Things. One character that did bug me was the kid who was named Podcast (ugh). Reminds me of Juno trying too hard to be with it (for example, the “honest to blog” line). Also Podcast’s actor was noticeably worse than everyone else. I know he’s just a kid but it kind of invites comparison when he’s constantly around another kid who’s a better actor than him.
Also, I didn’t realize the original cast from the first movie cameos, or as many of them that are still around (Ramis is dead, Moranis retired). Dan Aykroyd’s Canadian accent really comes out in the one long conversation he’s in.
Anyway, watching this made me think of the first movie and how in retrospect it’s clearly from when Reagan was president. I mean, small business owners save the world while the government’s representatives are either useless or actively harmful. I don’t think anyone involved in the movie was a Reaganite but it just goes to show how you can’t escape the times you live in.
As for the Ghostbusters of our current age, it’s decently entertaining. I’d say put it on if you’ve got a lot of laundry to fold.
Thanks to The Wandering Earth, I just read my first Cixin Liu text: his short story collection To Hold Up The Sky. I had tried reading The Three-Body Problem before but quit in the prologue.
It’s because like many other sci-fi writers, Liu is not good at social realism, and the prologue of Three-Body Problem really just could not grab me with its depiction of the Cultural Revolution. But thankfully I could skip the stories in this collection that showcased too much of the weaknesses of Liu’s writing and go with his real strength – the sci-fi crap. He’s very old school in that way.
For instance, the first story in the book is about a teacher in a dirt-poor mountain village and it was a struggle for me to keep reading until aliens finally showed up. I also completely skimmed the story about coal miners which had nothing science fictional until the really short epilogue with schoolkids in the future learning about why coalmining was dumb.
But the neat speculative stuff worked for me. A finance guy embezzling money to pay for life extension treatments? A quantum computer that allows perfect simulation of the universe and therefore perfect vision of all events past and present? Cryogenically-frozen refugees going further and further into the future to find a time that will take them in? All of that was my jam. Although the story about a near-future war between an invading NATO and the heroes of a Russia newly-returned to communism is kind of odd to read today until you realize it was published in 2001, when Russia had spent over a decade being carved up like a Christmas turkey by American consultants.
So yeah, Cixin Liu is a decent read if you’re aware that he’s very much into sci-fi being the genre of ideas and not the genre of well-written characters or compelling human drama.
The Wandering Earth is an entertaining disaster movie. It’s got the stupid twists and sappy drama endemic to the genre. I mean, the sun is going to engulf the Earth so the world’s governments build giant engines move the planet to a different star? A wonderfully dumb premise. It’s even got a rebellious jerk who has to step up to help save the world.
I did especially like how consciously international the movie was. We had people speaking Bahasa Indonesian and Filipino while Sulawesi was where half the major action takes place. Also it’s hilarious how the one white guy was the comic relief. Well, there’s another white guy who’s more heroic but he’s there to supply the tragic death to motivate the protagonist to keep fighting. I think I liked it more than Armageddon. Two goddamn thumbs up!
I just finished reading The Necessary Beggar by Susan Palwick. It’s about a family exiled from a parallel dimension who end up as refugees in post-9/11 Nevada. The blurb on Amazon compares it to Ursula Le Guin’s The Dispossessed, but I think that’s going a tad too far (especially since that book is one of my favourites).
Frankly, the science fiction aspect of The Necessary Beggar doesn’t figure that strongly into the story. Ghosts and reincarnation figure very prominently in it so it could actually be more easily classified in the fantasy genre.
To be honest, the alternate dimension thing could have been cut out completely and it would have worked out just as well by being a magical realist story about refugees from like Afghanistan or Somalia. But doing the story that way requires a lot more research to get the culture right and I can’t help thinking that was the main reason the family came from a made-up country.
If you’ve read immigrant stories before then a lot of this book will be familiar – it’s got migrants going through the everyday trauma of navigating a foreign culture, feeling an aching and unquenchable yearning for a lost home, clashes between tradition and American modernity, that kind of thing. I feel like there’s a Salman Rushdie novel in here struggling to break through.
I bought the solo journalling game Bucket of Bolts and I’m digging it so far. How it works is that it gives you some writing prompts as you create the story of a spaceship beginning from its construction, going through the many adventures it’s had with its different captains, and ending with its inevitable final journey.
It’s a fun way to get one’s creative juices flowing, while its guided structure prevents the stereotypical writer’s panic at being faced with a blank page. It even comes with a ship generator so you don’t get stuck with trying to imagine what your ship looks like and a soundtrack to listen to as you meditate on your choices. I mean, last night words were fairly flowing from my pen.
You can even use this game to create the backstory for a spaceship your characters might use in a space RPG like Traveller or Starfinder.
Bottom line? It’s a fun structured way to get creative for a couple of hours.
I just finished reading Legion in Exile, book 2 of the Imperium of Terra series by Evan Currie.
In terms of writing craft it’s fairly average, but it does scratch my space opera military sci-fi itch. The setting is somewhat unusual for the genre since it’s about the world after an environmental collapse, whereas English-language military sci-fi writers tend toward various flavours of right wing (from liberal centre-right to full nutjob) and would be hostile against anything that smacks of environmentalism.
But you see, centuries ago various groups of tech libertarians looted Earth and escaped to the stars, leaving the poors to choke to death on a polluted planet. A strongman seized power from the collapsing governments of Earth, enthroned himself as Emperor of Terra, and brutally placed the planet on a crash course to repair the environment. In the present day of the series, Earth is an absolute monarchy ruled by an Empress with a global aristocracy under her governing the masses. The environment is on the mend but is still nowhere near what it was before things went to hell, and the descendants of the space colonists laugh at Earth for being backward yokels. However, most of Earth’s citizens have been nursing a centuries-long grudge against the space diaspora and are itching for revenge.
So book 1 starts and it turns out the Empress wants to resurrect democracy and give commoners a voice in government again. However, the nobles and the military object to this idea and enact a coup d’etat, killing the Empress and massacring her most loyal troops. The protagonist is a rookie in the Empress’ legion assigned to protect her heir, so he fights his way off Earth with the princess in tow and they escape to look for support among the space diaspora.
The plot itself is pretty standard space opera – political intrigue, aristocrats in space, battleships blowing up, etc. It’s kind of weird that an absolute monarch should try to just plop democracy back after like 400 years of their family being in charge, but the books absolutely claim that the royal family’s founder actually meant it when he said he was only abrogating democracy “for the duration of the emergency” and that somehow his descendants also kept this commitment to a defunct political ideology over the generations.
Anyway, the environmental collapse thing was the main thing this series has that made it stand out for me. The rest of it is the kind of quality that you can expect from a military sci-fi space opera self-published on Amazon. It’s okay if you’re into that kind of thing.
I am currently playing 13 Sentinels: Aegis Rim and you know what? It’s so goddamn fun.
The thing that most impresses me about the game is that it does so much with so little. Your dumb AAA game will use a jillion teraflops to simulate the hairs on an NPC’s ass and put in so much work on stuff that doesn’t really add to the gameplay experience. But this game has the opposite philosophy: it pares down everything to the bare bones, which means at the mechanical level it’s actually a very simple game. However, it uses its very spare depiction of its world to make it feel like we’re playing in a much larger universe.
The game is about a group of high school kids who fight an invasion of kaiju by piloting massive human-shaped robots. You play the game in two different modes that you can switch between: a battle mode and a story mode.
The battle mode is set during the climactic showdown between the kaiju and the robots. You pick six pilots and slowly fight through each phase of the invasion on a real-time strategy map. You can also switch your team’s lineup, upgrade weapons, pick abilities to use, and do general RPG stuff.
This part of the game is decent enough. There are little animations that play when you try to decide what weapons or abilities to use, but as you can see from the image above, the map itself is very simplified. I don’t hate the existing battle mode that we got, and even enjoy the fights, but with the addition of a little more flash, the play experience could have been upgraded for me from “fun” to “ecstatic.”
I want to see mechs wrestling monsters while around them a city gets blasted to smithereens. I want to see my giant robot get knocked through a building and then take cover in a crater formed by a missile bombardment. I want to feel like I’m in a giant robot anime, by damn!
But the story mode delivers – oh, how it delivers. It’s what you should be playing the game for. The story mode is essentially a really simplified adventure game. You play through the recent past of each of the characters and discover the twists that their lives took which led to them piloting a giant robot on the day of reckoning.
The actual game thing that you do is essentially just pressing X. Your character is at a certain location and there are one or two people you can talk to and one or two objects that you can interact with. You progress through the dialogue and try out each conversation topic. Then you move on to the next location and keep doing that until you reach the end of the section you’re playing and decide if you want to continue with your current character or try someone else for a while (or maybe jump back into battle mode).
That’s how the story mode works, but that’s not how it feels. It evokes so much for so little. For me, it’s basically the world’s best anime protagonist simulator. I’m not a connoisseur of visual novels or dating simulators, but I’ve played a few, and in none of them did I feel like I was actually a student in a bustling Japanese high school like this game did. You walk down a hallway at school and there are other students passing you by, and in the background some of your classmates are chatting about the TV show they watched last night. You go with your friends for some ice cream after class and cars whiz by as you wait at the bus stop. Some jerks from the next school over try to start some shit and your friend steps in to back you up.
I call the story mode an anime protagonist simulator because it skips the boring parts of high school and just has the interesting bits in there. And what are those interesting bits? They’re mostly stories copied directly from science fiction movies and TV shows.
Yes, you’ll find that one character is living through the plot of E.T. the Extraterrestrial, while another is living through Terminator 2: Judgment Day, and yet another is experiencing the story of Total Recall. It’s not a simple one-to-one copy, though, and the stories make sense even if you don’t know what they’re referencing, but it’s fun to pick out what the original works were. And the characters’ lives are intertwined, so they get involved in each others’ stories, and a couple of times you even experience the same conversation again but this time you’re controlling the other person.
This game will not click for everyone, but it certainly did for me. Like I mentioned, it’s just so goddamn fun. I enjoy identifying the Robot Jox design elements and figuring out how the characters’ lives intersect with each other. I like feeling like I’m a kid in a Japanese high school anime and I’ve got an alien I need to hide from the Men in Black and also I have to stop the invasion from The War of the Worlds.
A couple of warnings, though. First, just like with many other adventure games, I got stuck a couple of times when I couldn’t figure out how to progress past a certain point. I say you shouldn’t feel guilty about just googling that shit. Keep that advice in mind if you play.
Second, and somewhat more egregiously, time travel is a very important part of the story, and since this is a Japanese story about using military weapons to fight off an invasion, there inevitably shows up two characters from Japan’s most infamous period of militarization. I guess the one guy is okay, he clearly doesn’t care about ideology and is just trying to get by, but the other guy is a true-blue patriot and he keeps shouting about defending the motherland and whatnot. Which would be okay if it was about almost any other country, but not when it’s Imperial Japan. The game isn’t a cryptofascist Trojan horse for Japanese imperialism, but this part definitely left a sour taste in my mind.
Anyway, keeping these things in mind, I would still heartily recommend this game. Like I said in the beginning, it’s great fun and I’m enjoying almost everything about it.
I finally saw Matrix Resurrections. It’s a lot better than sequel #2 and 3, which I know isn’t saying much. It’s because it’s actually about something. While the first Matrix was about capitalist exploitation, alienation, trans identity, and escaping Plato’s Cave, Reloaded and Revolutions were about fighting killer robots with kung fu and machine guns (except those movies wouldn’t admit that they were shallower than they thought).
However, the thing that Resurrections is about is suffocating nostalgia for a time when the audience was 20 years younger and didn’t have as much grey hair and wrinkles. But it doesn’t examine this idea in any meaningful way and something like 20 percent of the movie is watching clips from the older Matrix films. It reminds me a lot of Trainspotting 2 in that it’s an unnecessary sequel about old people terminally obsessed with their youths.
Yes, I know this movie was forced on Lana Wachowski. That doesn’t mean I have to like it. But I don’t even hate it. I think Resurrections is okay. The fight scenes feel perfunctory and I never went “wow” like I did in the first movie, but I’ve seen worse on a Saturday afternoon.
However, now I’m curious how the studio-mandated sequel without Lana Wachowski would have turned out. I know that studio oligarchs are terrified of losing money and would probably have made a mediocre failure like the sequel to Pacific Rim, but there’s a non-zero chance something really dumb could have been produced. What if Warner Brothers just gave in to every filthy lust they had and created something of the purest, crassest commercialism, with the first Matrix only slightly updated for modern audiences? What if Neo teamed up with Spider-Man to fight Mark Zuckerberg, and as a sop to philosophy fans they have Slavoj Zizek in the lower right corner of the screen providing a running commentary on the action? Because I wouldn’t watch that, but I’d laugh my ass off at the headlines, so it would have at least been a worthwhile commercial endeavour.
