The Last of Us 2 Looks Amazing!

So a trailer for The Last of Us 2 has been released, and I for one think it looks fucking badass. I like that we're seeing a cast of new characters and we're already getting hints of new conflicts. There was some serious religious overtones in the trailer, so I'm thinking we're going to see a fair amount of intolerance in the next game. At this point though, I don't even care if Joel or Ellie never appear again - I just want to play as *that* chick.

I don't know who she is or where she comes from, but I *want* to know! I don't know where she's gotten the food to be that goddamn rig in a post apocalyptic world, but she is a fucking machine! And it works too, she reminds me of Scarlett Johansson's Major from the live action Ghost in the Shell - she's this bulky warrior who just stomps around. You would not want to get into a fist fight with this chick because chances are that she'd just decimate you and all your friends. I really hope we get the chance to play as her, she's got this physicality that would let her go toe to toe with any Hunter.

I'm quite interested in these other two characters as well, they were both named and they're both Asian. For all the praise the first game got for inclusivity, there were no Asians on the roster, so it looks like Naughty Dog are getting on top of that right off the bat. With all that's being going on in Hollywood lately, with titles like Aloha, Iron Fist, Ghost in the Shell and Great Wall screwing over Asian American actors in favor of white actors, it makes sense from a casting perspective.

The young boy's hesitance to cut the warrior woman down, and his line "but she's one of them" could potentially mean Naughty Dog have written the absence of Asians in the original TLoU into the story. It's possible that where they were blamed for the cause of the Cordyceps Virus and ostracized by others, and that's why we never saw them in the first game. Or maybe it's got nothing to do with race and this warrior woman is just part of some group that nobody likes, I don't know. The powers that be have said that the second game will be about hate, and we already know there's a high level of religious intolerance, so some sort of race-based conflict it's not beyond the realm of possibility. 

Of course, not even a day after the trailer was released people have been writing articles about how it's far too violent and how it's disturbing that women are involved in the violence. The fact that two men are killed is overlooked and the focus is brought around to the broken arm of one woman, and the smashed in skull of another. Killing is fine as long as it's straight white men doing the dying, apparently, but we can't have women or children getting hurt. Never mind the fact that this is a post apocalyptic world where there are raging mushroom zombies that eat people... and humans that eat people... and humans that kill children because they're ordered too... and humans that try to kill children because they're sca- okay, you get it. It's a crapsack world, is what I'm trying to say.

I don't want to spend too much time raging about this topic again, except to say that this stops being an issue when you stop trying to make The Last of Us into something that it isn't. The world has gone to shit, but there are still good people out there and sometimes they have to do terrible things to get out alive. Stop trying to politicize it and spin it so that it reinforces your pre-existing views, just let it be its own thing. If you twist it and make it less dark then the overall story will suffer for it, the emotional pay off at the end is linked to the amount of risk involved in getting there.

A lot of people die in post apocalyptic stories, and even more get hurt, this is because they're not meant to be nice stories. They're tales of hardship and struggle and about making it through to the other side against all odds, the pay off is only worth it if the danger is real and the cost is high. Nobody cares that you walked across a field of daisies, but if there were ten Clickers and a Bloater on that field of daisies then that's a story that people are going to get invested in.

Anyway, I'm damn keen to see where they take this narrative. That warrior woman looks like she doesn't take shit from anyone, I'm sure she'd make for a powerful and conflicted protagonist. Maybe we get to see Joel and Ellie again, maybe not, but from the looks of things it seems like we'll be in good company either way. 

My Post Apocalyptic Project

So I was meant to come home and start working on my secret project tonight, but while at the gym I ended up talking to this lovely woman... until 1:30am. So, obviously nothing much has or will be written tonight. However, I will be damn sure to get at least a blog post out!

I have big news in relation to my upcoming book; after an overly long time of faffing about - it's now all in the hands of the graphic designer who will be putting it together for me. This is the last stage of the project, I can't even edit it any more. This  fact alone is terrifying the shit out of me. Just to give you some context, here's a pic from my computer. 

March 2011 is the earliest copy I've got, but I know I started this story in late 2010. So that's a good seven years that I've been tinkering away at this story, building and adding to it. Now that it's out of my hands I'm obviously relieved but also freaking the hell out - I've been able to work with it for so long!

Those are some interesting jumps in word count there, each time the story has grown in complexity as I've thrown more and more into it. It's not like I've been working on it for seven years straight either, it's done a lot of sitting around while things peculate.

The thing with this story is, and part of me is screaming that I'm even writing this down, it's mostly based on my life. The original inspiration for the story was a dream I had, and the setting never changed, but the plot has grown over the years as I've dug deeper and deeper into a lot of childhood issues that have left some damage. I don't know when exactly, but at a certain point it stopped being just a story and became an outlet for me, a way to deal with some of the stuff I'd been through while growing up.

The main character is based on me, but he's not me. It's a worse off, never tried to fix himself, version of me. My worst case scenario, if you will. I don't know why I even though it possible to write a story about myself and keep that fact a secret, but I've been operating under that delusion for a few years now. But I've been looking at the artwork... and there's pictures of me in there and there's just too many anecdotal stories for readers not to notice something was going on. 

I think I needed to tell myself that I could hide the fact that it's based on my life, but this close to release I can't maintain the lie anymore. The vast majority of characters in this story are based upon people I know, and the vast majority of situations are real events that have happened. The world didn't end though, well... not for you lot, so you're going to have to use some common sense to figure out which parts of the story are true and which are fiction. I think you'll be surprised by the ratio, however.

You don't end up in therapy, for three years, if everything went as it should have. There are going to be some characters in this story who are not shown in the best of lights, and the protagonist is definitely one of them. He's just at the start of his journey though, so cut him some slack.

For other people who don't like how they're portrayed in the story, well... take comfort in the fact that you had an impact on my life, even if it wasn't for the best. I'm not out to get anyone specifically, I should clear that up, but certain individuals are going to get called out for certain things they've done in the past. How they chose to take this is up to them... 

But, to end things on a lighter note - I've got something of an announcement. To kick off the count down to completion, and hopefully, subsequent release - I'm doing a cover and title reveal! 

Days too Dark is the name of my upcoming novel, it's a Post Apocalyptic Log set after the world was plunged into darkness. It's an exploration of the narrators background as well as the end times - and why the former makes him so suited to the later. This is his actual journal mind you, so it's going to be jam packed with his scrawled writing and there's some fantastic artwork in there from a few very talented artists. 

What this means though, is that I had to get creative with the cover. He can't have an awesome picture of himself standing outside some ruined building, the tattered remains of civilization scattered about, because this is his actual journal. It's got to look like something that a person would be writing in after the world ends! So this is what I came up with... I managed to get a little creative with the symbolism, and I get that it's not the most flashy cover but it meshes really well with the overall project. 

There's still a little way to go before I'm ready to announce the release date, but I figured that I'm all giddy with excitement so I'd give an announcement.

So that's it! What do you all think?

Politics and Writing

Sorry for the radio silence recently, I've been swamped with a few projects all coming to a head at once. I'm having to pick up some slack in several locations for a really massive project that is nearing completion, and as annoying as that is I've actually learned a lot from the experience so it's not all bad. But it signifies that some changes are needed, I can't keep going like I've been going. 

In other news; I've been pumping out a metric shit tonne of words recently, for a project that I'll be releasing early next year some time. Besides that, I've been doing a final edit of the big one that will be released before the years end, as well as planning what I'm going to write for NaNo WriMo. I've been planning to do this challenge for years now but every year something pops up and I miss the chance, so this year I've been planning ahead.... and that's where the trouble started.

I had this idea for a Dystopian story.

See, in terms of the political spectrum, a Dystopia is often a Right-leaning government oppressing individuals who are more Left-leaning and progressive. The Handmaids Tale is a great example of this; women's rights are swept away as a Christian totalitarian government takes over the United States and calls itself 'Gilead' for some reason... it's all very inspiring for the modern day feminist movement, and there have been rallying cries of how it's a tale that needs to be told, and how gosh darn relevant it is in the era of Donald Trump.

And that's all fine, but...

People on the Left aren't the only ones who can experience a Dystopia - it's not a genre that's bound to any one view point or ideology, here - I'll rip a description straight from Wikipedia.

"A dystopia is a society characterized by a focus on that which is contrary to the author's ethos, such as mass poverty, public mistrust and suspicion, a police state or oppression. Most authors of dystopian fiction explore at least one reason why things are that way, often as an analogy for similar issues in the real world. Dystopian literature is used to "provide fresh perspectives on problematic social and political practices that might otherwise be taken for granted or considered natural and inevitable"

A Dystopia can be experienced by anyone, it's all relative. One man's utopia is another man's dystopia. For a long time, the focus has always been on how bad things could get if the Right gain too much control, but that's not the only Dystopia out there. What would a Dystopia *for* Right-wingers look like?

That's what I was going to explore, and I was going to grab a bunch of different ideas and current fears of people on the right and make this world that would be horrifically alien to them.

  • Sexbots - it's been popping up more and more lately, this is an absurd topic that has people from all walks of life freaking the fuck out.

  • Equality run rampant - Straight White Males have had generations of privilege, now they've entered an age where they're paying off that debt.

  • Feminism and Islam - because I felt like ruining my entire life by making fun of this team up.

  • Universal Income - because if we're getting laid without effort, why not get paid without effort as well? Another topic that people are talking a lot about.

  • New World Order - Globalism run rampant to the point of there being no borders anymore, the Right-winger's worst nightmare.

  • Self Grading College Degrees - because how couldn't this absurd trend cause problems?!

I had a vague idea of what the plot would be, it was going to be about this guy who is more white than most people can be in this world, and he's an ex-serviceman looking to find a partner despite a few issues he's got. Men don't marry anymore because divorce courts are so in favor of women and instead they just bang sex robots. Women have taken over the workforce but since they're allowed to self grade they're mostly totally unqualified and the global economy starts to crash as men simply bow out and women under-perform too much to be able to handle it. The worlds population is down below 3 billion, despite it being 2100 or something like that, people just aren't having kids anymore. Men don't want the risk and the burden while women put their careers ahead of children and see motherhood as a joke.

The protagonist would see all the issues with this ailing society and seek to end it, by destroying all the sex-robots.

He'd go on some merry adventure until he came face to face with the president of the world, she knows things are failing but she refuses to give up power and go back to the old ways of things, she'd "rather rule in hell than serve in heaven." And just as he's being carted away to jail, to become breeding stock to help boost the dying worlds numbers, he's rescued by a rebel group. They don't plan to stop the government, they just want to let it die so that they can step in and rebuild from the ground up. 

The rebels wouldn't have been pro-male or anti-women or anything stupid like that, just a basic egalitarian group that recognizes that one extreme is no better than the other, and that both groups need one another, that they *are* one another. And the story was going to end with the protagonist walking off into the wilderness with these rebels, not bothering to try and take out the Dystopian government but simply letting it fall on its own, like they inevitably do. 

So that was the idea.... absurd to the nth degree, like all the best dystopias are. 

The thing is, though... I hung out with my cousin and her two girls on Friday, and I got to thinking. Even though I classify myself as a Centrist, there's no way that this story couldn't be construed as Right-wing. And that's the point, obviously, I was going to write a Dystopia that bucks the trend and goes against what people are used to.

What happens when gender affirmative action and safe spaces go too far? Beats the hell outta me, but I'm sure it'd be just as bad as if Nazi's start marching down main street, just for different people. One extreme is just as bad as another. The very fact that it's your idea of Utopia means that it's another person's dystopia, that's how life works.

And so I'm going on a bush walk with my cousin and her two girls, we're talking about Wonder Woman and looking at water dragons and all that good stuff, and I realized that I just don't want to invest so much time and negativity on such a story. It would be a pretty shitty world to live in, but then I don't want to live in world of Nazi's either, and I think that such a book would only give them a stronger foothold in the world.

I'm not here to support either the Left or the Right, I've got a little bit of both in me. I support gay marriage but I also want people to stay the fuck away and not interfere with my own rights. I like a free economy but I also think there should be a safety net for those that need it. I'm all for multiculturalism but I also see the benefits of nationalism... sorry I don't fit into one camp or the other, I'm kind of complex. I find people who support either camp to be like sock puppets, hollowed out and someone else's ideas with someone else's voice.

And everyone thinks Centrists are wishy-washy fence sitters who lack convictions, so what the hell would I know?

But mainly I decided not to write the story because I don't want to be the guy that writes a Dystopian story about how horrible it would be if roles were reversed and women ruled the world... and nose dived it into the ground. As interesting as that story might be, it'd cop so much flak from everyone, everywhere, that I'd be hearing about it until the day I die. And honestly, I don't want my cousin's girls to read that story one day and wonder how I could write something like that when they were already in my life.

I'm not just a Centrist for shits and giggles or to save myself the trouble of having to pick a side, I chose to be a moderate because it allows me to observe. As a writer, I need to be able to step into anyone's shoes and try my best to think like they think, to feel what they feel. I can think as a Nazi one day, and as a radicalized anti-establishment freedom fighter the next. I try to keep my views out of a story when I'm writing it, and instead allow the characters to have their own views. That's kinda hard when you're bringing a viewpoint that's been warped by propaganda and inhereted beliefs. 

I will be the first to admit that I've had some issues over the years, issues with trusting women included. You don't spend three years, and thousands of dollars, on therapy for no reason at all... But I'm trying to move on from all of that, and this story would have been a massive step backwards for me. I'm focused on moving forward these days, and although that doesn't mean I'm ever going to become a flag waving feminist, is does mean that I'm going to try to live with love and respect for others, and treat them how I'd like to be treated. 

Except the characters in my post apocalyptic stories, I am going to make each and every one of their lives an utter fucking nightmare...

 

 

The Deadly Deathclaw!

There are a few aspects of the Fallout series that make it iconic. The campy 1950's era science fiction vibe, the oftentimes comical violence and finally, the various mutations. Alongside the Ghouls and Super Mutants that have been included in each installment of Fallout, we've been terrorized by the inclusion of the Deathclaws. 

Originally developed as replacements for infantry soldiers before the Great War, the Deathclaws are the result of several bouts of genetic engineering. Decades after the Great War, the Deathclaws were discovered by The Master and tinkered with, before being found by the Enclave a century later and tampered with once again. By the time Fallout 4 comes around we've seen various stages of the Deathclaws evolution, but their core identity remains the same - they're apex predators.

Designed to hunt and kill on a battlefield, the Deathclaws use their superior strength, speed and endurance to dominate the wastelands of the United States post-Great War. In the initial decades after the Great War, around the time of Fallout 1, they were seen as a creature of mere myth and legend. As the timeline progressed however, their existence was accepted and they became little more than just another deadly creature that wandered the wasteland.

By the time we get to explore California in Fallout 2, the Deathclaws have been tampered with by the Enclave to become more intelligent. Why you'd make a lethal killing machine more intelligent, I have no fucking clue, but they did it anyway and so the Deathclaws developed the ability to talk. They don't have vocal cords though, so they're just mimicking the sounds that we humans make, which was a nice little detail to throw in there. 

The fact that Deathclaws should logically be the dominant species in the wasteland by almost any standard is made a little more palatable by the fact that they can't actually talk like we can. These featherless parrots may outclass us in pretty much every other category, but hey, at least we've got functioning vocal cords. Although, I'm not certain how comforting that would be while a brood of Deathclaw hatchlings is gnawing on your innards.

There's a hairy variant of Deathclaws around the Chicago area, apparently they developed this fur to better cope with the cold. These one's developed the ability to mimic human speech as well, so maybe that's a trait that all Deathclaws are capable of developing under the right circumstances. The main issue with the Hairy Deathclaws is that everyone points out that Deathclaws are still reptiles, and reptiles are cold blooded so fur wouldn't do anything to help them. Again, I'm not sure how comforting that would be while a Hairy Deathclaw is usingyour corpse like a Tauntaun to incubate its eggs.

The simple fact is that Deathclaws are towering mutants that were genetically designed to attack tanks on foreign battlefields. If they became sluggish at night because they accidentally didn't bask in the sun for long enough then they wouldn't be that big of a deal. Ever had a Deathclaw attack you at night? Pretty terrifying, right? Yeah, let's just assume that the genetic engineers found a work around for the cold blooded aspect of their genome.

Whether by natural processes or by direct human intervention, the Deathclaws have adapted to life in the wasteland. Why they don't absolutely dominate the entire continent, I'll never know. Maybe their birthrate isn't high enough, but that seems unlikely. I get that ever since Fallout 3 they've become little more than dangerous monsters for us to kill, but within the lore of the Fallout Universe the Deathclaws should be a much bigger threat than they currently are.

The only thing that set the ancient humans apart from their more ferocious animal neighbors was their intelligence. I guess you could say that our opposable thumbs played an important role in our advancement, but Deathclaws have those as well! The point is that we were slow, squishy and we had fewer sharp or pointy bits, but we were able to think in a much more complex manner than anything else around us, and thus we dominated.

If those same reasoning powers were given to a 10ft tall lizard monster that's covered in scaly armor, claws, horns and teeth... we would have a serious fucking problem.

Why Stargate Universe is still my Favorite Series

It may not be post apocalyptic, or even close to perfect, but Stargate Universe is my favorite television series. From all the sources it pulls from for inspiration, to the mere timing of it's release, SGU may have only lasted two seasons but it ended up being one of the most influential series that I've ever seen. Hold onto your butts, this will probably be a long one...

Whenever my dad was actually around, we used to watch the original Stargate series, SG-1, together. It ran from 1997 to 2007, so it had a pretty good lifespan as far as Sci-Fi shows go. The second series, Stargate Atlantis ran from 2004 to 2009, and it was as equally campy as the original series. I enjoyed both of these, but this was primarily because watching them was something that I got to do with my dad from time to time. Even when he wasn't around, I'd keep watching them so I could catch him up when he got back from whatever hellish corner of the world he was exploring.

Stargate Universe came out in 2009, and by this point my dad wasn't that interested in television anymore so I ended up watching it alone. The tone of SGU was very different from SG-1 and SGA, it was set in the same universe but it was much darker and a lot more serious. It borrowed a lot from Battlestar Galactica, which had run from 2004 to 2009, in that it portrayed space travel as less than a fun adventure and more of a harrowing journey into the unknown where friends and family can be killed at a moments notice. My dad died around the time I was watching SGU, so it'd be remiss of me if I didn't point out how that influenced my opinion of the show.

The basic premise of the show is that there is this Ancient ship, called The Destiny, that was launched from Earth thousands of years ago. It's mission was to set out into the universe, find suitable planets that could support life, seed them with stargates, and then just keep on travelling for as long as it could. The original intent was for it to be launched unmanned and preform the first leg of it's journey without a crew, who would use the stargate to board it later on. The issue here is that the Ancients figured out how to ascend beyond their physical forms before they were meant to board the Destiny, so the mission was abandoned and the ship continued to travel on it's own. It just traveled through the universe for thousands of years, on auto-pilot, collecting data and seeding planets with stargates.

Skip to the present day, and the humans of the stargate program manage to make a connection to the Destiny, but due to a list of random circumstances that include an exploding planet, they're forced to board it without the proper preparations. This is one of the key aspects of the series that I find appealing, the fact that the vast majority of the crew are not even meant to be there. There's a large military force, because it's still the stargate program, but there's also scientists and civilian personnel. They had to board the Destiny to escape certain death, but it's a ship of alien design that's thousands of years old and they've got no way to get back home.

That's the appeal, they're the wrong people for the job and they're all stranded on this ship. The crew can't even control the ship for a large portion of both seasons, they're just passengers, or stowaways, and they're simply along for the ride. All these strangers are forced together and they have to learn how to get along and work as a team to survive. They clash, a lot, over various differences, but eventually they get their shit together and take control of the ship.

Bringing up the fact that my dad passed away while I was watching this series may have seemed a little left field, but there was a point to that. The series has a focus on characters who have had strained relationships with their fathers, and most of the characters have even lost their fathers. One ran away, another died in a car crash, one had PTSD and was abusive and another actually died within hours of boarding the Destiny. It's just random chance that my own father happened to die while I was watching a series that delved so heavily into the topic. It was definitely a factor that made the series resonate with me.

Now, as with everything else I watch, I watched SGU with a critical eye so I could learn how it worked. Combine this with the fact that I've watched this show at least ten times over, it should be obvious that I'm well aware of it's many flaws. There's a few aspects of the show that I don't like and a few scenes that just seem clunky and are there for false drama. My main issue with the show is that the crew have these devices that allow them to swap bodies with people back on Earth. It's a minor quibble but it's a way for them to stay in contact with Earth and it also allows the people of Earth to interfere with the crew of the Destiny. I get why they did it, it grounded the crew a little and let them have a broader cast to interact with, but I feel it would've been better if contact Earth was something that was held off for a season or two, to really ramp up the isolation. Beyond that, there's a few scenes where characters are just standing around info-dumping and giving blatant exposition.

The problems are few and far between, and even further from deal breakers, mind you. They're just minor aspects of a show that you tend to notice when you've watched it so many times. Besides these few points, the show had so much going for it that I was legitimately shocked that it was cancelled after two seasons. I get that the darker tone wasn't what Stargate fans were used to, but it was in no way a bad show. 

Considering the set up of the show, with random people thrown together and forced to rely on one another to survive, it should come as no surprise that the series boasted some fantastic characters and that the interactions between them were superb. The thing that set SGU apart from its predecessors is that it's characters were all deeply flawed individuals that clash with one another on multiple occasions.

Colonel Everett Young is the leader of the Destiny. He tries to do the right thing and be an example to others, but he makes the wrong decisions sometimes and circumstances begin to take their toll on him. Colonel Young is often caught between two other characters, Rush and Wray.

Nicholas Rush is the manipulative scientist who, while quite brilliant in various fields of science, is more known for his manipulation of people and situations. A pragmatist through and through, he seems to have cast aside most emotional influences in his decision making and goes with the most logical choices.

Camile Wray is a human resources officer who wasn't meant to be aboard the Destiny, she brings a more humanistic element to the leadership trio. While Rush may be cold and calculating, Wray is empathetic and... calculating. Like a lot of the other crew members, she doesn't have an official purpose but she quickly establishes herself as a sort of civilian liaison and becomes a thorn in everyone's side.

There's this great dynamic going in with this trio, where Colonel Young is caught between the brain of Rush and the heart of Wray. Although they often clash, Rush and Wray often join forces and butt heads with Colonel Young about how the ship should be run, since he's military and they're both civilian.

The primary character for the audience's introduction to the situation is Eli Wallace, a 25 year old computer hacker who lives at home with his mother. An absolute slacker with a brilliant mind, he's only on the Destiny because he solved a puzzle and the stargate program kidnapped him. He was dealt a shit hand as a kid and was saddled with too much responsibility, he had to look after others and his own interests suffered as a result. He's unmotivated and juvenile at times, and he doesn't really know how to get what he wants. He grows a lot as a character over the two seasons though and he's the character that I identify with the most.

Mathew Scott is an lieutenant who is fresh out of the training program, so he's just as new to the situation as Eli is. These two hit it off pretty quickly as they each make up for the other's shortfalls. Scott is by no means dumb, it's just that he's focused on the combat and leadership roles, while Eli is really really smart. He's a bit of a ladies man, which causes a few issues with several of the other characters aboard the Destiny.

Chloe Armstrong is the daughter of a senator who died aboard the Destiny on the first day the crew arrived. She does her best to make herself useful throughout the series but she's largely a third wheel beyond her friendship with Eli and romantic relationship with Scott. At a certain point she gets abducted by aliens and she starts to mutate, she becomes super strong and freakishly intelligent. It seemed like the writers needed a way to make her character still relevant amid a roster of soldiers and scientists. It felt a little rushed, but overall it worked.

Tamara Johansen is a medic that is forced into the role of ship's doctor, since she's the only one with any kind of medical training. Like Wray, she definitely brings a human element to the series and she's got one of the more heart wrenching story arcs. She's pretty upbeat in general but life just keeps slamming into her, over and over. I would have liked to have seen where she ended up if the series had continued.

Ronald Greer is the big strong guy of the series, he's a soldier through and through but he's also got a temper that gets him into trouble. He's not a douchebag with a temper though, it's more about him being overly protective and ready to sacrifice himself for others at a moments notice. There's a lot going on with Greer and it just sucks that we only got to see a bit of it before the show was cancelled. 

Finally, my favorite character in the series, Varro. This guy was part of an invading force that tried to take the Destiny, but ended up turning on his side when things got out of hand. Despite his status as an enemy soldier, he eventually earns the trust of everyone aboard the Destiny and becomes an equal crew member. He's a warrior, like Greer, but he's less aggressive and more soft spoken and reflective.

Watching all these characters interact with one another across the two seasons was always interesting, they were thrown into some seriously shitty situations. Everyone has their own idea of what's best for the group, and people clash more often than not. Factions form and conspiracies to overthrow the military rule are put into play, it takes these people a long time to put their shit aside and learn how to work together. When they finally do manage to work together, things start to go a lot better.

At a certain point, deep into season 2, the characters get the chance to return home but they end up turning it down. While they started out doing everything in their power to get back to earth, eventually they figure out that the original mission of the Destiny is that important that they chose to take it upon themselves to take it as far as they can. There's this moment where everyone is deciding if they'll stay or leave, and we see one of the side characters mulling it over in their head. You can see the realization on his face, the fact that nothing he could ever possibly do back on Earth could compare to the work he'd do on Destiny, and he decides to stay. 

I think that's another part of the appeal of the series as well, as much as it's about the human interaction it's also about this universe spanning goal. They're aboard a ship that's seeking the answers to all of life's greatest questions about the universe and our place in it. The characters are dealing with petty politics, personal fears and relationship issues while also seeking out if some kind of god had a hand in the creation of the universe. It's that simultaneous exploration of the ordinary and extraordinary that make the series so interesting.

The creators knew that the show was going to be cancelled, so thanks to the freedom of narrative that science fiction allows, we were sort of given two endings. In one, an alternate version of the crew actually get sent back in time a few thousand years and establish a small colony of humans on a planet, the main crew get to help the descendants of this colony.  We got to see the lives they all lived as they set about trying to build a civilization from scratch, it was probably the best ending the characters could have received.

The second ending, the ending of the series, is less optimistic but far more open ended and allowed for a continuation. The Destiny is about to cross a void between galaxies, and the crew all have to go into suspended animation for a few years so the ship can conserve enough power to make it all the way across. Eli is the only one left out of stasis as he's the only one who can fix the last remaining pod, the series closes with him looking out at the universe and smiling. He might not be able to fix the pod, he might very well die, but the fact that he's travelling through the stars means that it's all been worth it to him.

I was definitely bummed when the series was cancelled, but I've heard that there is a comic series released now that has taken up where the show left off. I'm pretty sure Eli would have survived somehow, especially if the story has continued. I'm pretty keen to get my hands on a copy of the comic, but they're hard to come by in Australia so I'm going to have to get creative. 

So that's it, sorry for the randomly long post about a sci-fi show that was cancelled six years ago and isn't post apocalyptic. Like I said, it means a lot to me simply because of the timing and context it was released into. I still hold out hope that the show will continue one day, but until then I've still got the first two seasons and those comics to track down.  

   

Equality in Television

Ever tried to run through a mine field while you're being chased by a tidal wave of lions and tigers and bears... and also your hair is on fire? Well, for me, that's what writing this piece has been like. I'd like to get to the other side unscathed, but in all likelihood I'm going to get pretty fucked up.

There's been a trend in television shows of late that are targeted directly at women and lauded as the pinnacles of equality and shining examples of what all shows should be like. The problem is, beyond the fact that I've actually sat down and watched a few of them, that they're nothing of the sort. They're just as sexist and reductive as every other television show in history, just in the opposite direction.

For the purposes of this piece, I'll be discussing two shows and a movie in particular - Orange is the New Black, Wynonna Earp and Wonder Woman. Before you pop a gasket and start pissing liquid outrage, I've seen 4 Seasons of OitNB and the first season of WE and obviously I've seen Wonder Woman. I know there's more seasons of the shows out there of either but I live in Australia, where dvd's take ages to be released and all the good pirating channels have been blocked. So, it'll have to do!

My problem with these shows is that they're always regarded as morally superior to shows that have traditionally had male leads, or a focus on male dominated life. But if you actually sit down and watch them, you'll find them pretty uncomfortable if you're a guy because you're constantly seeing individuals that you identify with being vilified or sidelined. It wouldn't be such an issue if they weren't touted as being more inclusive and simply better... because they're not. It's the exact same shit, just targeted at a different audience. 

I might as well get this out of the way early so I can get a healthy streak of negativity going on afterwards. Seeing these shows has actually inspired me to become a better writer. I can't imagine what it must have been like for women over the past half century as they watched television, seeing their entire gender relegated to the background and given absurd roles that only exist to pump up the male lead's story lines. Seeing this new generation of television however, I get an idea of how uncomfortable it must have been, because now it's happening to men as well. The problem is, doing a complete 180 turn doesn't solve the problem, it's just the same shit with a new direction. I'm all for a series that's about equality, but actual equality, not social justice revenge where women finally get their own back after being oppressed for so long. 

So, I guess, some good has actually come from these shows. For me, at least. They make me uncomfortable and I'd hate to see all of media go in this direction, so I'm definitely going to do my part to be a better storyteller. Again, not because I'm a bleeding heart Lefty but because I want complex and interesting stories - and a fully fleshed out cast of men *and* women, is the best way to achieve that.

Okay, onto the negativity! 

Orange is the New Black always bugged me, it's a show that's clearly about women. We've had plenty of shows that have primarily female casts before, that's never been an issue, I watched Charmed and Buffy back in the day and loved them both. (Totally crushed on Holly Marie Combs btw...) But OitNB is a show that casts females specifically as protagonists, and as a natural result of this men must take the role of antagonists. 

Every male in the show is some sort of villain that exists solely to act as an opponent or hindrance to the female characters. George "Pornstache" Mendez is the vile and corrupt prison guard who abuses his authority and takes advantage of the female inmates. John Bennett is a guard who is portrayed as a coward, for leaping from a grenade while on tour, to having an injury that isn't as heroic as it could be, and finally from running from his responsibilities as a father. Joel Luschek is the drug using, alcoholic loser who runs the prison mechanical shop. Sam Healy was the prison social worker who was blatantly sexist, racist and homophobic and ends up having a mental breakdown due to an unbelievably shitty childhood. Joe Caputo is the quintessential "nice guy" who gets treated like shit because it's his own fault. Scott O'Neil is a big, fat dumbass. Cal Chapman is the primary protagonist's deadbeat hippie brother. Charlie "Donut" Coates rapes a prisoner because he has a weird demented crush on her. Desi Piscatella is a sociopathic torturer who is gay, but not because that makes him a more well rounded character but because that makes him immune to the feminine wiles of the female inmates and thus a more difficult opponent for them to overcome. 

All these male characters are fucking horrific, I would hate to be a little boy watching this show and seeing that this is what men have to be like. I'd hate to have a son who watched this show with his mother, only for his mother to state that this is what men are really like. I didn't even list off all the random background prison guards who are sadistic ex-servicemen, there's just too many of them! Do people not know how hard it is to be a prison guard in real life? Do they think it's just for college drop-outs and undercover psychopaths? 

There is one sympathetic male character who you could possibly side with, but then he randomly kills an inmate because the actor who portrays her got a job offer on *another* show about how bad females have it. (Samira Wiley jumped ship to go board The Handmaid's Tale, I'll get into that mess in another piece.) There's not one single male character in this show that you can side with, they all exist simply to be opponents to the female characters. 

The question I have about this is, when has there ever been a TV show where females have been cast in direct opposition to the male protagonists? I will freely admit that female representation and the roles that women can play in television hasn't been great, not even good, but they've never been systematically cast as the villains because of the simple fact that they're women.

I get that we need to be better in the content that we create, but OitNB isn't a show about equality or equal representation. It's a show that's even more sexist than almost any other show that I can think of, to the extreme, and the worst part is that it's posing as a progressive narrative.

Wynonna Earp is basically a shit version of Supernatural combined with Charmed, it's a Weird Western story about the great great granddaughter of famous American lawman - Wyatt Earp. I have less of a problem with this series because it's not about women vs men, instead it's just a show about women, targeted towards women, and tends be executed pretty poorly. 

Wynonna is shown to be an alcoholic run away with a history of mental illness, drug abuse, sexual promiscuity and criminal activity. She returns home to find she's got a destined role to play in saving the day from some really lame demons. Along the way she gets tangled up with the immortal Doc Holliday, who was stupidly stuck down a well for the past century, and the stone faced Deputy Marshal Xavier Dolls - and of course, a love triangle evolves. Also, Wynonna has a younger sister who ends a relationship with a deadbeat guy and starts up a bisexual relationship with a female deputy called Officer Haught (literally pronounced "hot.")

The series is full of quirky little bits of sexual innuendo and all the primary male cast members are fully supportive of their female leads. Despite the fact that one of them is immortal, and the other is an ex-military monster of some sort, both supportive male leads are only ever fully effective when the women aren't around. The second Wynonna is on scene, these guys who are meant to be the best of the best suddenly turn into whimpering and ineffectual losers. Which, I get on a creative level because you can't have side characters out-shining your protagonist. It's just that this is a problem when they're ultimate badasses while along, but they become useless the second there's a vagina around.

I'm not the only one who sees that this makes no sense, right? Do they both have some sort of weakness to estrogen or something? Tone down both extremes and it stops being an issue, make them less badass on their own and less pathetic when they're around the female lead.

There's also this really odd scene where a guy has been killed by some sort of succubus duo, and he's been torn apart and is hanging from the rafters of a shed in his boxers. The only thing Wynonna says is "Should have kept your pants on..." and just walks past his corpse. Like, that's an innocent dude who's been killed by demons, and your only reaction is to make a joke about his death? Pretty sure that's a quintessential example of Victim Blaming right there. Can you imagine the uproar there would be if there was a show with a male cop who found a dead female on the side of the road in her underwear, and the only thing the cop said was "should have kept your pants on..."

And the worst part about Wynonna Earp is that the whole series makes this really overt attempt to justify and validate Wynonna's sexual history. She ends up shagging Doc Holliday, the century old immortal bad boy, before making out with Deputy Marshal Dolls right at the end. It's this absurd female fantasy of getting to fuck the bad boy and then settling down with the reliable guy who is totally accepting of your laundry list of sexual partners, one of which is a close associate of theirs. It's absolute absurdity, the world doesn't work like that. But of course, because it's targeted at women, it's got this ridiculously romanticized "have your cake and eat it too" message to it.

It's exactly the same as the doubebag guy who shags the town bicycle for a while before ditching her to settle down with the homely girl next door.... just in reverse. That's not equality, that's just equally unequal! 

Straight laced, by the books, ex-military types like Deputy Marshal Dolls don't fall for ex-drug addicted, alcoholic "party girls" like Wynonna Earp. It's sending this insanely damaging message to young women that they can fuck around as hard and as fast as they want, and then Mr. Right will totally be waiting for them when they're done. Now, note, this isn't me saying that women shouldn't be allowed to fuck around, because I'm not saying that at all. You wanna get dicked till your heart's content, by all means - go for it, because this is not about slut-shaming or anything like that. What I'm saying is that it's absurd to think that you can do all that and then also expect a knight in shining armor to be waiting for you at the finish line.

Women don't like guys who sleep around, guys don't like girls who sleep around either. We need to put this shit to bed, because no matter how movies and TV shows try to convey it as true, it doesn't work like in that in real life in either direction. 

There are other shows that have been reported to be in similar vein as this, Marvel's Jessica Jones comes to mind, but I've never actually watched that. I haven't actually watched any of the Marvel TV series, primarily because I'm fucking sick of super hero content but also because they often turn out to be pretty shitty. When I heard that Jessica Jones was all about Jessica being this strong and independent woman who talks shit and gets to stare at a shirtless Luke Cage for most of the series, I pretty much deleted all mention of it from my brain. 

I did go out and buy a copy of Wonder Woman though, because I heard nothing but rave reviews about it. I was expecting something great, but it was in the similar vein to OitNB and Wynonna Earp. Albeit, to a far lesser extent. I loved the action, the story line was pretty damn good, but the film was clearly targeted at women. There were little quips here and there that constantly reminded me that I'm a dude and that I'm not entirely welcome here. I will state that the male cast members were much more well rounded in Wonder Woman than those other series, they were consistent and well thought out. And there was a pretty awesome female villain as well, so it wasn't a blatant 'man vs female' set up. 

Now, this is where I've got to make the ridiculous announcement that shouldn't be, but totally is, necessary. I don't hate women, I don't have a problem with women having their own shows and I don't want to go back to the good old days of women being relegated to the kitchen. I just want better shows, shows that espouse *real* equality, not just shows that're about man-bashing because it's the in-vogue thing to do right now. I want shows that have complex male and female characters, not shows with one or the other. 

As much as I hate sucking on the Whedon dick, Buffy and Firefly were both great examples of this. Men and women on equal footing, working together and getting shit done. Firefly had a strong warrior woman and her more peace loving husband, totally loved that. The original Aliens series was fucking fantastic, that had a female lead and they didn't need to wax on all poetic-like or make rapid-fire quips about how superior women were to men, it just had a female lead and got on with it. Dark Matter was a little sci-fi series that got three seasons out before it was cancelled. Great cast, men and women, badasses all. 

I loved that Tauriel was added to The Hobbit, she was an absolute fucking badass. Also, seeing Galadriel bust out into Witch-Queen mode was awesome, Gandalf was getting his arse handed to him until she showed up. Two damn powerful female characters, zero issues. Hell, I would have been happy with more!

We need better stories, because the stories we've got now are lame, with blatantly obvious political leanings that cater directly to the current populist trend. Supporting minorities is the cool new thing, so lets all support and raise them up by BUILDING A PILE OF STRAIGHT WHITE MALE CORPSES FOR THEM TO STAND UPO-

No.  

Casting men as the villains tells young men that they can only be villains, and teaches young women to fear men. Showing women doing whatever they want and then getting Mr.Right is telling young women that they can do what they want without consequences, which just isn't how the world works. We need better shows with better messages, otherwise we're going to end up with a generation of kids with a really fucked up view of how the world works and how they fit into it. We know that depictions of television can have negative impacts on peoples self-perceptions, especially young people. 

I don't want shows that cater to men's warped view of reality just as much as I don't want shows that cater to women's warped view of reality. I want realistic shows, with nuanced and diverse characters in multi-layered narratives, that everyone can enjoy. I don't want us all to drift off into our own little TV worlds that drag us down different rabbit holes to the point where nobody recognizes a single reality anymore. We can still have shows and films that are for men or women, respectively, but we don't need to throw the other under the bus to make them work. 

Seriously, at this point, Resident fucking Evil has been a better series in terms of equality... and that series is absolute garbage! But it's got a whole host of strong female characters, including the lead, and none of them talk shit about men at any point. This trash zombie series is more inclusive than most modern television shows. Bravo, people...

Post Apocalyptic Character Analysis

I don't usually focus on a single character like this, but The Rad-Lands did a piece on Lord Humungus from Mad Max 2 (found here) and it got me thinking about what post apocalyptic character has stood out for me. Funnily enough, it's not a protagonist and it's not even a primary antagonist, it's actually a side character. 

Redridge, from The Book of Eli, is the right hand man of a small town tyrant known as Carnegie. He starts out looking like your usual end-of-the-world thug, he's bigger than most others and not overly intelligent so he probably just fell into the role. By the fact that he's the right hand man of the movie's villain, you know straight away that he's not a good guy by any stretch. We see this in the fact that he's perfectly fine with the way things are being run in this violent town, he's happy to kill people and even executes fellow underlings when they fail. It seems like he's content with being Carnegie's second.

When the protagonist, Eli, comes to town though, things start to change. While Redridge is a man of violence, Eli is both a holy man and death incarnate. Even someone as simple as Redridge picks up on the fact that there's something special about Eli, it seems like every bullet fired actually wants to miss him. After a brief shoot out in the main street, Redridge has Eli dead to rights but chooses to let him go. It isn't revealed if this is because he's already figured out that he'd probably miss, even with a clear shot, or if he's simply chosen to let Eli live. The point is, he doesn't shoot.

The movie makes it pretty clear that there's more to this guy than simply being a brutish thug who hurts people for a living. He's actually got a crush on the Carnegie's daughter, Solara, and seeing as he's spent most of his life being violent he doesn't really know how to interact with her or express his attraction to her. He playfully steps in her way while she's out on errands, then quickly steps back when he realizes that he's misjudged how she'd react to this. He was young when the world ended, so he probably never even finished school, and despite his size he's still operating as someone with a primary school education at best.

Despite being uneducated, and not knowing how to express himself properly, he still cares for Solara and wants to be with her. When he sees an opportunity to secure her, he makes a deal with Carnegie. He's too immature to realize that Solara could never love a man like him, but he's just so infatuated with her that he doesn't even see this. He just wants her, and he comes up with a plan to get her and keep her safe. He plans to capture Eli for Carnegie, if Carnegie will let him have Solara.

Redridge and Carnegie chase Eli and Solara across the radioactive wasteland of the former United States, and eventually capture the pair as they share some tea with a couple of delightful cannibals. Redridge has given Carnegie what he wants and as promised, he is given Solara in return. He finally gets what he's wanted for the longest time, but even he's picking up on the fact that none of it feels right. 

Solara has spent the entire movie growing as a character, she's gone from a terrified prostitute to an absolute badass, so by this point she's more than ready to show Redridge exactly what she thinks of this whole situation. She strangles the driver of the vehicle they're all in, and it ends up flipping before rolling down the highway. 

Just as Solara is about to make her escape, we see that Redridge is still alive despite being impaled by a machete. Now... he could try to kill her out of revenge, seeing as she pretty much just killed him, but instead he pulls the machete out of his chest and exits the car. He had Solara, but instead of holding onto her he chose to let her go.

In a scene that made the The Book of Eli a favorite of mine, a dying Redridge kneels down on the ground and takes his goggles off. He looks up at the sky, and smiles, before his head slumps down. It's a scene that's enough to give both Solara and Carnegie pause, it's like they're bearing witness to something divine. This man of violence chose not to rely on violence at the very end. By changing his ways before it was too late he seems to not only have had some kind of revelation, but also found peace.

Redridge is left kneeling on the side of the road, like a man who's died in prayer. 

The whole story arc really spoke to me, not only because I myself am a rather large gentleman who has often had trouble interacting with tiny women, but because of the extra depth that was added to a character that could've been easily ignored. In a movie that is all about faith, this background character was given a pivotal role in supporting the film's overall theme.  

Redridge taking his goggles off at the end was a great piece of symbolism, showing that he was no longer blinded by earthly distractions. He has his goggles off at other times during the film, but this is always when he's indoors where he's shrouded in darkness. While the goggles are still on his vision is occluded by the darkness of Carnegie's influence, but he manages to strip them away at the very end and see the light. The symbolism works really well when the twist about Eli is revealed.

I get that Redridge wanting to own Solara isn't a healthy relationship at all, even if he genuinely wanted to look after her, but I think that even he'd figured that out in the end. He was a bad guy, yes, but he was a bad guy that found redemption. It's a story that has stuck with me since I first saw The Book of Eli at the cinema, and even after all these years I still want to know what Redridge learned in his final moments. What, or who, did he see? What made him so serene in the face of death?

A New Post Apocalyptic Writing Project

I've decided to be a bit more proactive in my writing, which has paradoxically meant that I've not been writing on the blog as often as I'd like.

With a slight nudge from a fellow doomsday enthusiast on Twitter, I remembered this idea I had a few years ago. It took me a bit to hunt down the file, but eventually I found it and I've been working on it since. I don't want to go into too much detail, but I will say that it is non-fiction and that it is post apocalyptic.

And that I've somehow written sixteen thousand words in the past three days...

I don't know what it is but I am really excited about this project, it's definitely not as big as other things I'm working on but I'm hoping that some of the other members of the Twitter post apocalyptic community will get a kick out of it. This is definitely a speed of writing that I've never attained before. I hit 6600 words today. I've never even come close to that before. I don't know, maybe because it's non-fiction? I've done university papers, of course, but I've never written something non-fiction that was intended for publication.

We'll see how I go over the coming days. I'd originally given myself the month of October to work on this little project and get a rough first draft out, but it looks like I might be a little ahead of schedule. Which is never a bad thing mind you, gives me plenty of time to go over it and give it a polish or two. 

Besides all that, I haven't really been up to much. Just working the dead end job, hitting the gym and doing this TESOL course. Things are all progressing rather well, nothing is really going wrong and it's all relatively boring to be honest.

Oh, I guess this is worth mentioning, it's in the ballpark of what this whole blog is meant to be about. Although I haven't really been playing video games since my spinal injury, I did pick up Fallout Shelter today. I haven't played it since a week before Fallout 4 was released, and it's really grown as a little iOS game. They've added in a whole mess of features and it's really quite fun now.  Check it out if you've got some time to kill! 

I should probably head to bed, I've been staring at this screen for days. I'll make a point to get back to the blog little more often, but I'll probably keep the posts a bit shorter until I finish this project.
 

Hope in the Post Apocalypse

The thing with post apocalyptic fiction is that, by its very nature, it's depressing as all hell. The whole world has ended, lives have been torn asunder, and depending on the scenario there could be zombies or radiation or aliens or plagues to deal with for the foreseeable future. You're generally in for a bleak time when you get into a post apocalyptic story. What kind of people actively seek out stories that are inherently dark, dreary, dismal and depressing? Well... that's a discussion for another day. 

The thing is though, all the best post apocalyptic stories know how to balance this bleak narrative with a spark of hope. Because as much as the world could possibly suck after it's ended, there has to be the possibility of things getting better one day. You can drag the audience through the shit and mud, and even kill their favorite characters, but at the very end there has to at least be the possibility that things will get better... someday. 

In The Road, the Man and The Boy face months of hardship as they journey south, trying to find a warmer climate to survive in. They come across cannibals, roaming bands of marauders and (in the book) they even come across a woman who gives birth to a child and then cooks it straight away... their journey is harrowing, to say the least. The Man is clearly sick, and after a short and pointless skirmish with some other travelers he is injured and after a while he can't travel any further. The Man dies, and just when it looks like the Boy will be left on his own in this bleakest of worlds - a whole family approaches him, and asks him to join them. 

In The Book of Eli, Eli has traveled across the irradiated ruins of the United States, guided by faith alone. He's been beaten and shot, he's dying, but with the help of Solara he's able to finally reach his destination. It looks like it's all been for naught, he lost what he was meant to bring with him, but it turns out he's carried it for so long that he knows it's every facet by heart. He dies, having finally completed his mission. And Solara, changed by her journey with Eli, sets out to return home, ready to be the change she's always wanted in the world.

In 28 Days Later, Jim woke up from a coma to find a world overrun with rage zombies (yeah, The Walking Dead totally stole the whole coma intro idea from 28 Days Later.) His family is dead, he's made friends and lost them and he's seen, and become, the worst that humanity has to offer. In an attempt to save the last of his friends, he's gravely wounded and it looks like he might die. In the last scene however, we see them all living peacefully together in the countryside and as a plane flies overhead we see Jim smile, despite it all. 

Finally, we come to The Divide. New York gets nuked and a bunch of people cram in to a fallout shelter under an apartment building. What follows is 122 minutes of the bleakest shit you've ever seen. The characters are trapped down in that bunker and they turn into monsters, they kill and rape one another, and as a few of them get radiation poising they all start physically decaying as well. Eventually the protagonist manages to escape the bunker into the outside world, and just when you think things might start to look better.

We see the gray and crumbling ruins of the New York cityscape, with not another living thing in sight. She's finally escaped that little hell beneath the ground, only to discover that there's absolutely nothing above the surface... and then the film just ends. We get this defeated look upon her face and then the credits start rolling. It's absolutely crushing. I clearly love post apocalyptic fiction and I don't mind watching a movie again every few years, but I seriously doubt I have the emotional stamina to get through The Divide a second time. It's just so goddamn draining! 

And that's the thing, there has to be some kind of release. You can't put audience through the painful and oftentimes uncomfortable experience of a depressing story without at least giving them some kind of emotional pay off at the end. If the characters have managed to get all the way past the flesh eating corpses, past the mutated dogs, through the quagmire of radiation and beyond the death robots, then they have to find some sort of oasis that makes the whole fucking journey worth it. Not only for themselves, but for the audience as well. 

Even if they die at the end, they have to die for a purpose that has meaning. Because at the end of the story, the journey has to have been worth it.

My Issue with Teen Fiction

Teen Fiction is a genre that I've never liked, not even when I was a teenager, and this has become doubly so since it's started creeping into my favorite genres of writing. My problem with Teen Fiction is not with the style of writing, there are many talented writers who are (wasting their time) writing Teen Fiction these days. No, my problem is with the genre itself, what it stands for and the methods it uses to appeal to its target audience. 

As a teenager, you're at what is quite possibly the most stressful and confusing stage in life that a human being will go through. You're still treated like a child but expected to act like an adult, your entire future is decided by the grades you get, one misstep and you can be socially ostracized for the rest of your high school career and to top it all off you've got these hormones racing through your body telling you to do really stupid things that you'll totally regret later on. Besides all that, there's always the slim chance that one of your peers won't be able to take the pressure and will go on a rampage. 

Being a teenager is stressful and confusing because not only are you trying to develop a deeper understanding of the world, but you're also trying to define yourself and figure out how you fit within that world. You've been molded by your parents for years, and you want to make them proud, but you also want to step out and have a say in who you turn out to be as well. As a teenager you are very vulnerable to being mislead because you're actively seeking new paths, and you're constantly walking down the wrong paths while you try to find the right one.

Teen Fiction is the ICBM that cruises past all defenses to strike right at the heart of this confusion. It's the douchebag at the party that walks up to people and sucker punches them, it's the bitch that makes up a story about her friend because she's becoming more popular, it's the arsehole that gets chicks wasted because it's the only way he's assured of having a good time. Teen Fiction targets our youth when they're at their most vulnerable, it tells them they're special, they're unique and that they'll change the world. It tells them everything an impressionable young teen could ever want to hear...  and then it takes their goddamn money!

And in recent years, Teen Fiction has slithered it's way into Post Apocalyptic and Dystopian Fiction. Of course, with the brutal injustices and tough moral choices brought about by the desperate times inherent to both genres, it was only a matter of time. Despite the fact that all these worlds generally have police officers, soldiers, diplomats or barbarian warriors - it's the teenagers that always manage to save the day. Because adults are just too set in their ways to solve the worlds problems, it takes a teenager's fresh perspective on things to bring about lasting and effective change... ugh. 

Never mind the fact that when these books are turned into movies or tv shows, the teenagers are always played by 20-something actor/models who are absurdly attractive to the point of being genetic freaks. This only further alienates the average teen who, more than likely, will never attain such godlike levels of attractiveness.   

It's cheap, it's dirty, and I fucking hate it...