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Thoughts on Moffat’s Sherlock (BBC)

It’s interesting, the way this new, more modern version of Sherlock is evolving.  Steven Moffat and his mad crew are putting together something that, not only does a very interesting job of translating the original material, but it modernizes the stories in a different way as well.  It’s become a story of enablement, a story as much as, or maybe even more so, about the people who surround Sherlock, who compensate and open the doors for his many quirks (this is also reflected, by the way In Guy Richie’s Holmes, which I like equally well, but Moffat is going deeper).  The shining moment is always Sherlock’s, but he doesn’t get there without the support structure that he has somehow managed to gather (in spite of himself).

In sharp contrast to this, Moffet has given us his version of Mycroft Holmes, which throws both brothers into sharp relief.  Mycroft is what Sherlock might have become without that support structure.  Mycroft is always shown as being a solitary being.  We see him on Christmas Eve, alone in front of a fire in a somewhat dark and cavernous space, in contrast to the dysfunctionally cozy gathering at 221B.  We see him again, when he receives the call from Moriarity revealing that the game is up.  From his reaction, the news is devastating, but he is completely alone, the only warm body in a large and empty room.  The spaces he inhabits, that Moffet *chooses* to show him in are all places designed to be inhabited by lots of people, but are singularly empty, even of passersby.  Sherlock, however, almost invariably, is surrounded by people.  Moffet may draw the camera tight, but we can still see or feel them there, John Watson looking through the door in the background, the out of focus voices from the hallway.  When Adler’s impending death is revealed to Sherlock, he is surrounded by friends, and when Mycroft calls Watson to tell him that it may be a “danger night” (a presumed reference to Sherlock’s smoking addiction and the possibility of a relapse) after Sherlock identifies Adler’s body, the depth of that support structure is revealed.  Mycroft’s affection for his younger brother, that fact that he keeps tabs on and supports him through Watson suggests that Mycroft himself sees the value in the people who surround Sherlock.  He himself has bought into the “enabling” role the same way that Watson, Molly, Ms. Hudson and the rest of the crew have.

Now, it’s nice to think about the ebb and flow of a project, how things “take on a life of their own” as it were.  But the constrained nature of the series (3 episodes, 1.5 hrs each just over a year ago, with another 3 now, and so on) means that everything in here is planned.  Happy accidents are going to be few, relationship arcs will be mapped outbeforehand and the meaning (I love BBC productions because SO MANY of their directors really grok the idea of building symbolism into the background) is deliberate.  So I am curious to hear all of what Moffat is saying about this relationship between the Holmes brothers, and whether one way of life is, in fact, superior to the other.

 

Forward Momentum

As a player it’s not something you think about very often any more. It can be one of the more thoroughly discussed elements of layout and design during the actual development process, but as the genres and canon that goes with each continues to calcify, it’s becoming more and more standardized. For a while there, when games and gameplay preconceptions were still malleable, you could get anything. In fact, if you were a “core” gamer you might even go to the trouble of playing through the first level to checkout the setup, then go back and starting over once you’d familiarized yourself with the status quo. It was the kind of thing that could change the way you played, it could take an aggressive, balls-to-the-wall gamer and make them think twice before leaping into oblivion, guns blazing. It could encourage a normally methodical, careful gamer to take risks they might not otherwise have taken, to waste gems or potions or bullets rather than carefully hoarding them against a Big Bad that might never show. (Who am I kidding, the Big Bad always shows up, doesn’t he?)

I’m talking, of course, about save points.

Any First Person Shooter player worth their salt breathes a sigh of relief when those words flash across the bottom of the screen, “Checkpoint Reached”. The actual verbiage might vary, but the meaning is the same. The suck is over and you have a moment to take a breath and unkink your thumbs before the gurgling horde of laser-fodder returns for another go-round. Its particularly interesting in this case because the genre that catches the most crap for not having story lines of note is also the one that has the cleanest, least disruptive method of moving the player forward. And, like a good novel, the point of a game, ultimately, is to keep moving your player forward. No one said you had to make it an easy movement, but the checkpoint method is the most respectful, it does the best job of maintaining the immersion that is one of the most desired qualities of a good game.

In contrast, take a look at a platformer title like Super Mario Brothers for the Wii. Like most platformers, the game only saves your progress at the end of a level. If you die anywhere within the level, you have to start over. Annoying, but clear and easy to understand. In the case of many recent platformers, however, the level has been further subdivided into mini levels, and from there we have checkpoints within the mini levels. The end result is a staccato-like gameplay experience, requiring the player to maintain a more aloof presence, keeping them from the immersion, the ability to get into the “zone” is lost. While arguably the platformers tend to be more story oriented (Uncharted, Tomb Raider, Prince of Persia) the experience can lack the smoothness one gets with the FPS genre.

Counterpoint to both of these is the “save anywhere” option. These can show up anywhere, but are the mainstay of the RPG genre, which strikes me as odd because if you’re a story lover, the RPGs are where you tend to end up. The “save anywhere” option is probably one of the most often abused save styles, players can theoretically jump out of the game at will with limited penalty, even in the middle of combat. Players also have the option or running an encounter over and over again hoping for a better outcome (say finding a pair of silver bracers in the box instead of leather ones). When it comes to the MMORPGs, the designers have taken this into account, enforcing draconian penalties in some cases if a player jumps ship in the middle of a mission or a quest and leaves his or her buddies high and dry. In the single player RPGs however, this is not always the case. From a readers point of view, its nice to be able to put the book (or the game) down at any moment in time and pick up where I left off, but I think that required act of saving takes away from the immersion, it again keeps the player on a slightly more clinical level that they otherwise might be in relation to a game.

The key element we see in all of these is the expectation of the player. Despite what you might see in blogs and game commentary, players tend to gravitate towards a certain type of puzzle, a certain level of depth to their gameplay immersion. Despite their craving for a well-told story, a mother of three might opt to play platformers because they a so clearly broken up into bite-sized chunks that can be doled out between runs to soccer practice and swimming lessons. Despite the fact that story might not be as cool as wielding the latest and greatest bada** laser cannon with unlimited ammo and designer flames painted down the sides, a core player is often going to prefer the deeper immersion and longer, uninterrupted playtimes that go with the FPS genre. The real trick, as games move forward, is going to be finding ways to better match these players with the things they are looking for, and a harder look at save points might be a place to start.

Wait, what did we just DO?

I was trolling through the “Juvie” books the other day, looking for something new for my 9yo son (Thing01).  I do this reasonably regularly, and I will freely admit, about half the juvie books I bring home get read by me first, or sometimes me only, since I occasionally pick out something that sounds really interesting to me, but for whatever reason, Thing01 doesn’t take a shine to it.  Really, its a win-win because otherwise I’d never get the chance to read books at all.

I ran across “Enders Game” by Orson Scott Card and I stopped.  My first throught was that someone had left it on the shelf when they changed their mind (which probably happens a lot) but on closer examination I found that it was, in fact, classified as juvenile fiction.

Excuse my French, but WTF?

This was one of my favorite books when I was a tween, but back then it was categorized simply as “science fiction”.  The breakdown of books at my local B.Dalton was much more straightforward, you had books with pictures, you have a small group of “half and half” juvie books (like The Three Investigators or Encyclopedia Brown) and anything “good” without pictures was found by genre.  You didn’t go for the “Fiction” shelves because there you would invariably run into Wuthering Heights and books about relationships.

But now, when I wander through the “juvenile section” I keep seeing these classics from my childhood recategorized, taken out of the “science fiction and fantasy” shelves and plugged in amongst the Hardy Boys and Artemis Fowl.  It feels like a lost opportunity there.  I keep hearing about how people want more “good” science fiction on the shelves, but I have to wonder if it’s just slipped sidways from the genre.  I never would have found Handmaid’s Tale by looking in the genre section, or even the Hunger Games. 

Since I hate presenting a problem without at least looking for a solution, I have to admit, I’m stumped.  Shelf space is a valuable commodity, so having a book placed in multiple categories simply isn’t going to happen.  How then do we cross-promote titles to where fans of different genres can find what they are looking for, regardless of age or labeling?

Material Girl

Cheery title for the holiday season, don’tcha think?  It was the holidays, and the attendant shopping that goes along with them, that got this train of thought rolling in the first place.  One of the interesting things over the past five years in particular has been the big push towards e-devices, not only as the obvious alternative to traditional print media, but also with regards to games and entertainment.  During this time my entire family and extended family has gone “e” and for the first time ever I am finding that the things they really want, the “thoughtful” gifts are not going to be plastic toys, battery-driven cordless drills or even shiny shiny game DVD’s.  They’re going to be gift cards.

Yeah, I know.  Talk about impersonal.  Gift cards are what you give your babysitter, or your uncle in Tulsa because of the shipping costs, not something you get your *kids*.

Except this year.  This year we have finally reached the tipping point.  The point where the value of information, of data, the near invisible bits and bytes that go into creating e-media have transcended the tawdry plastic and glitter that once had my children pointing to every new thing on the screen and saying I *want* that.

The gift card market, the e-currency market has gone absolutely insane.  Walk into your local supermarket or drugstore and you’ll be faced with a wall of goodies, plastic cards that can be charged with dollar amounts ranging from $5 to $10,000 (yes, there are a few that you can put up to 10k on, though if you’re going to gift that large an amount, I suspect a wire transfer to a Swiss Bank Account might be more your speed).  The game industry, and in particular the “Free to Play/Pay for Stuff” end of the MMO industry, has embraced this middleman with a vengeance.  As a parent, it’s become an easy tangible tool to teach financial responsibility without exposing my credit card information over and over and over (and while each of the digital entities may have excellent security, having to buy minutes or credits or pips each time my kids want to spend their earnings will statistically increase my risk).  My kids earn up, then on our next trip to buy essentials, instead of buying plastic toys that will eventually clog up the landfill, or candy bars and soda, they get a card that will allow them to buy stuff in their favorite game, or will allow them access to the “members only” section for another month.

On the one hand, as a parent, I’m a little concerned about my kids willingness to chuck money at virtual products, and equally concerned that they want virtual goods as gifts, rather than the good ol’ fashioned action figures and tea-sets.  But you know, sooner or later every one of those action figures is going to end up in the landfill somewhere, even if I turn them over to a family in need.  I myself have finally made the transition from paper books (as much as I love the hedonistic feel of the pages) to e-books because, sooner or later, something horrible happens.  I have lost books to water, bugs, rats, kids, sewage (don’t ask) poor judgment and now I am facing down an entire library of paperbacks that will be given to a new home simply because I no longer have the space to support my book-hoarding habit.

It’s remarkably freeing.  I can divest myself (and my kids) of all this *stuff*.  Dispose of all the toys that have lost their luster and get rid of bookshelves full of stuff.  Take the focus off the material, off of owning the *thing* and focus on the idea, the experience, without saddling it with the onus of possessing an actual physical trophy.

But is it a real change?  By turning the focus away from the physical toy to a virtual one, is this an actual turn from the materialism that every parent, teacher and psychologist has lamented since the dawn of time, or are we simply becoming virtually materialistic? Or are we simply broadening the definition of “material” to include ownership of things that are, arguably, less real?  And if we are, does that mean that so many of the traditionally non-material elements that we value in place of things – knowledge, imagination, intuition, experience – are *just* as material as the action figures and robot vacuum cleaners?

I think perhaps, as much as I may embrace the new “e-era” and succumb to getting an extra month of an MMO here or a hundred “e-coins” there for the kiddos, there’s still going to be a few things under the tree that likely are made out of plastics, or Nerf foam, or one of the other more traditional materials of play.  As much as I might want them to be better than my “Material Girl” generation, I’m not quite ready to give up those trophies, those physical proofs of my affection.

Yet.

Maybe when they’re teenagers.

Thought Processes

This is why I love Science and Speculative Fiction as a class.  Not just the literary kind, but in all its forms and functions.  The thought processes that go along with the genre, the way the artists, designers, directors and writers think is almost 45 degrees from the rest of the creative process.  Take, for example, in the new TRON: Legacy film:

Joe Kosinski: We were just starting the sound portion, and the guys at Skywalker [Ranch sound studio] were telling me, “You have all these arenas and all these specific chants — that’s a very hard thing to fabricate. You’ve got to find a thousand people who are willing to follow chants.” So we were looking at sports arenas, and I realized, “Wait a minute! I’ve got Comic-Con coming! Let’s record the Comic-Con hall and get our crowd reactions in Hall H.” So we did it — all the crowds in the disc wars sequence are Comic-Con fans in Hall H. It was fun to put the fans who supported us in the movie itself. 

Taken from:   http://io9.com/5709777/7-awesome-facts-you-need-to-know-about-tron-legacy.

This kind of thing doesn’t seem to happen as much when you’re working with drama, or cosies, or true crime, or romance.  With Science Fiction there seems to historically be an openess to ideas that may, at first glance, just be totally bonzo, but when the final execution comes down the line, you come out with a development experience that couldn’t have been created in any other genre.