Saturday, 17 March 2012

Critical Angle Countdowns: My Top 10 Favourite Storytelling Tropes

Back when I did my Top 10 Least Favourite Storytelling Tropes, I didn't have a counter-post prepared, because I found it much harder to come up with my favourite tropes. I think it's easier to pinpoint story devices that we don't like because when they are used, they take us out of the story. They prevent us from getting immersed, and we find ourselves thinking 'I can't believe they're using that plot point!' Good tropes are much harder to pin down, because when we enjoy a story, it's a lot harder to pick out the specific devices that made it good. However, with some thought, I have managed to pick out what I would consider my Top 10 Favourite Storytelling Tropes

10 - The Married Couple
It is a common theme in fiction that marriage is the reward at the end of the story – it's the resolution, the happy ending. So I really like it when a writer feels they can have a married couple who grow and develop through the story – to show that yes, marriage is wonderful, but it's not as simple as 'happily ever after'. When two people decide to share their entire lives together, they will ultimately face conflict. Watching them overcome it and become stronger for it shows just how much they really belong together.

9 - The Surrogate Parent
When someone has a child, they have a natural responsibility to care for them. They gave them life, and are biologically bound to them. There are some wonderful parental characters in fiction, but some of the best ones are not the biological parent. While aunts, uncles and grandparents often take the role of the parent when the real ones aren't around, there is something so heartwarming when a person with no biological relation to a child takes responsibility for their well-being. Without the biological tie, their affection for the adopted child is that much harder to develop, but that much more touching.

8 - The Magnificent Bastard
Sometimes villains are subtle. Sometimes they are complex. Sometimes they have well-rounded motivations that make them truly multidimensional characters. And sometimes they just revel in being evil. For all the complex motivations you see in fiction, sometimes the best villains are the simplest. The ones who just take pleasure in causing chaos, who revel in being evil, they are the guys you love to hate. Sometimes you just need to provide a clear threat to keep a story going, and these sorts of villains offer exactly this.

7 - Balanced Romance
As you could probably tell from my Least Favourite Tropes list, I often have a problem with love stories. This is because most of them feel shallow and offer nothing to the actual plot. Sometimes they offer character development but this is often one-sided. The best ones are those where both parties have something to offer the other. The two people should compliment each other; they have different mindsets or beliefs, but through understanding each other they are able to change and become better people.

6 - Badass in Distress
This is an interesting trope that can be difficult to pull off. There are plenty of damsels in distress – helpless characters who constantly get themselves into trouble, but there are also those occasional cases where even strong characters need rescuing. Done well, this trope can show that the strongest characters still have their flaws – they might get overconfident, let their temper get the better of them, or just make a misjudgement. This trope is often an opportunity to give the supporting cast a chance to shine, while simultaneously giving the lead some character development.

5 - The Well-Meaning Villain
A lot of villains know they are evil and love it, but sometimes the most terrifying villain is the one who genuinely believes they are doing the right thing. It's easy to hate someone who knows they are bad, but it's that much harder to hate someone with good intentions. This trope can often have you sympathising with the bad guys, which makes them all the more terrifying. It also makes them that much harder for the heroes to stop.

4 - Alternating Storylines
I guess the main way to sum up this trope is to say “why have one story when you can have two”. Done well, this trope offers two compelling narratives that keep the audience on their toes, always anticipating more. When one storyline leaves off, you're desperate to know how it carries on, but the story that follows it will do the exact same thing. I also love piecing the two stories together, seeing how they fit together and wondering when they will meet.

3 - Bad Guy Turned Good Guy
This is a trope that is really hard to pull off, but is brilliant when it is done well. When a character is selfish, destructive or power-hungry, but learns that their goals might not be as fulfilling as they expected, it makes for some brilliant character development. It's all well and good having characters who are good by nature, but when someone was previously a bad guy actively chooses the side of good it truly emphasises the theme of 'good over evil'.

2 - Fragmented Narrative
While I am always a fan of the traditional three-act structure, there is something even more compelling about a story told out-of-order. Seeing events on their own, and then figuring out where they fit into the bigger picture is a really great way to get someone involved in the story. Sometimes questions are more interesting than answers, and a fragmented narrative has the audience constantly asking questions, and constantly thinking about the overall picture.

1 - True Friendship
As great as love stories can be, I always find tales of friendship to be so much more emotional. Any moment that shows just how strong the bonds of friendship are belong on this list. Those moments when someone will throw themselves into danger to save a pal, or comfort their best friend during their time of need. The times when someone trusts their friend so much that they don't even need to question their judgement. Even a hug, a touching line of dialogue or a friendly smile just warms my heart. Friendships are that much stronger and more enduring than love stories, and I love it when a story focusses on a relationship that is guaranteed to stay strong.

A lot shorter than my last list, but as I said, good tropes are often harder to analyse than bad ones. I hope this was an interesting read despite its brevity, and has given you a little insight into what I look for in a good story. I'd say it's worth giving some thought into your favourite and least favourite tropes, especially if you ever plan on writing or reviewing. It gives you an idea of how stories work and how they are received. TV Tropes is good for this, but as I've said before, approach that website with caution.

Sunday, 19 February 2012

Dragonball Z Revisited: Dragon Box 1 - Episodes 1 - 42

 “I thought I had reached my pinnacle...But that Vegeta guy there has done far better than I have...It surprised me...To be honest, I was overwhelmed...But somewhere within my heart, I was happy, and excited...That must be because I'm a Saiyan too. Whenever I see an amazing guy like that, my heart leaps.” - Goku, Episode 35

Dragon Box 1 covers what is commonly known as the Saiyan or Vegeta saga. When I was younger, this was the part of the series that I had the least familiarity with. These episodes had already aired by the time I got into the series, and I somehow kept missing the re-runs. I watched the Goku/Vegeta fight for the first time after the Freeza arc had already concluded on TV. It also didn't help that I felt I was missing parts of the story, because it jumped around a lot. As it turned out, a lot of episodes had been cut and spliced together to make a 26 episode first series. I didn't see the entire series intact until I bought the DVDs.

Strangley, for all the jokes made about Dragonball Z taking forever to do anything, I actually prefer the pacing of the original Japanese version to the cut-down English one. I felt like it was telling a better story, and didn't feel as rushed and choppy as the dub. Plus I was watching a DVD, so I could skip any filler I didn't want to watch. I'm actually really interested to see what I think of Dragonball Kai – it's essentially doing the same thing, so I wonder if Toei did a better job, or if I'll get dub flashbacks when I eventually watch it. A quick thing – when I talk about filler, I'm referring to any scenes in the animé that were not in the original manga.

Diving into the story itself, bombshells are dropped pretty early, and their impact will differ based on whether or not you watched Dragonball. The first thing we learn is that Goku is a father. His four year-old son Gohan is a well-mannered but timid boy with no real interest in fighting. For newcomers, Goku is first introduced as a father, but for Dragonball fans, who remember when Goku couldn't even tell the difference between boys and girls, this is a pretty big moment. The arrival of the Saiyan warrior Raditz provides the second bombshell – Goku is also a Saiyan, and Raditz is his brother! The revelation that Goku is an alien would also come as a shock to long-time fans, but for newcomers, this is again one of the first things we learn about him. Fans still debate whether or not the science fiction route was the right one for the series to take, but I feel that this plot point really fleshes out Goku as a character. I think this story arc places a lot of emphasis on Goku coming to terms with his identity. He might not be a bloodthristy tyrant like Raditz, but he's clearly not human.

Raditz is the first villian of the series, and his confrontation with Piccolo in the first episode sets him up as a force to be reckoned with. When you know the threat Piccolo posed during the 23rd Tenkaichi Tournament, and you see him terrified of this new opponent, you really know Raditz means trouble. When I watched these episodes on TV, I never really saw Raditz as anything more than a villain, and to be honest, that's all he is. He exists purely as a plot device – he provides necessary exposition and sets the story into motion. This would be fine if he were just a Saiyan, but the problem lies with the fact that he is Goku's brother. This revelation only serves to add to the shock that Goku is an alien – the two have no interactions beyond that of hero and villian. It's a shame that Toriyama didn't feel he could do anything else with the character.

The fight with Raditz is really good. I really like watching Goku and Piccolo work together; two rivals relying on each other to get rid of a mutual enemy. Gohan's attack on Raditz gives us our first glimpse into what Goku's son is truly capable of. We also start to see that Piccolo might not be as evil as his father was. When given the opportunity to kill both Raditz and Goku, he happily takes it. But when he is faced with a dying Goku, he doesn't gloat, he doesn't mock, he just stands next to him waiting for the others to arrive. This element of Piccolo will be explored further as he decides to train Gohan for the upcoming battle with Raditz's fellow Saiyans; Nappa and Vegeta.

The following episodes focus on the characters' training to defeat the Saiyans who will arrive in a years' time. It is here that we start to see more of the supporting cast. Krillin, Goku's long-time friend, goes out looking for their fellow martial artists and breaks the news to them. Krillin, along with Yamcha, Tenshinhan and Chaozu are offered training by Kami up in the heavenly realm. It is here where I think a lot of the anime's filler really contributes to the story. Newcomers won't have any idea who these characters are, so having a few extra episodes to flesh them out really helps, especially given the events that occur later. Goku, in the afterlife, travels down the Serpentine Road in order to receive training from the legandary Kaio. Some of the weakest episodes in this arc are the filler episodes during Goku's journey. I didn't mind them so much when I was younger, but now that I know they are filler, they just feel like a waste of time. Kaio himself is a very likeable character – he is wise, but also goofy, with a love of terrible puns! I like him a lot more now, mostly because his Japanese voice isn't nearly as annoying as his English one. Gohan's training with Piccolo serves to flesh out both characters. We start to see Gohan becoming stronger as a person, while seeing that Piccolo may in fact have a softer side to him. Piccolo's evil side is played up more in the Japanese version, which makes the softer moments all the more powerful.

A year on, the Saiyans arrive, and Goku is brought back to life with the Dragonballs, but will be a day late to the fight. Back on Earth, the fight begins as Piccolo, Krillin, Gohan, Tenshinhan, Chaozu and Yamcha face off against Nappa. These episodes hit me a lot harder than they did when I was younger, because I have now watched Dragonball. Yamcha, Chaozu and Tenshinhan's deaths are much more tragic when you know their history and their relationships to one another. Krillin is in fact put in a really devastating situation – these are his friends, the people he has grown up with, who are falling on the battlefield. Piccolo doesn't care for them and Gohan doesn't know them, so it's really Krillin who suffers the most. Gohan, however, suffers an emotional blow when Piccolo dies protecting him. This is a character defining moment for both of them. For Piccolo, it is the point where he can no longer claim to be evil – he has learned what it means to die for someone you love. For Gohan, it is the point where he realises that he must find the strength to fight in order to protect his friends.

I want to take a moment to defend the series against a common argument. Often, people claim that death means nothing in Dragonball Z, because they can always be brought back to life with the Dragonballs. These people have clearly never watched the series. Yes, death can be undone, but it doesn't stop it from being tragic. Look at any scene where a character dies – the first response is always shock, grief or anger. Not 'Oh, it's okay, we can bring them back'. Then we have this scene. Piccolo is spiritually linked to the Dragonballs' creator Kami – meaning that if he dies, Kami dies and the Dragonballs will disappear. So logically, it would have made more sense to let Gohan die and bring him back with the Dragonballs. Instead, driven by emotion, Piccolo dies in his place, and the Dragonballs die with him. Nobody takes death lightly – even if they know they can be brought back.

It is at this point that Goku finally arrives on the battlefield. It becomes a bit of a running joke that Goku is always late to the fight, but in this scenario, you have to look at the details. The Serpentine Road is over 10,000 kilometres long, and Goku runs the whole thing in less than two days. The only time he shows any sign of fatigue is when he asks for a Senzu bean to restore his energy. After that, he heads straight to the battlefield. If that isn't badass I don't know what is. Nappa is defeated, Gohan and Krillin retreat, and the fight between Goku and Vegeta begins. This is easily one of the best fights in the entire series. Everything about it just feels so huge – Goku and Vegeta throw absolutely everything they have at each other. Every trump card is played, every risk is taken, and yet, it's not enough. Both characters become desperate, and their responses to the situation contrast greatly – Goku knows that his chances are slim, but is still thrilled to fight against someone so strong. Vegeta is enraged that a lower-class warrior could hold his own against the Saiyan Prince. The other thing that stands out is that Goku doesn't win – it is down to Gohan and Krillin to return to the battlefield and finish the fight. And Vegeta does not go down easily. Throughout the entire battle you really feel the power, the desperation and the anger as each character tries to gain the upper hand. And it's amazing how Goku is still able to contribute to the fight after Vegeta cripples him – most notably when he entrusts Krillin with the energy he gathered for his finishing move – the Genki Dama. For a series where supporting characters generally stay out of the way, it's interesting to see them forced to step in.

Against all odds, they fight Vegeta to a standstill, but Goku begs Krillin not to finish him off, and instead let him escape. This leads to one of the most emotional scenes in the entire series. It's also one of the scenes that the English version just got so wrong. In the dub, this was your typical 'good guy' scene – Goku tells Krillin to show him mercy, and Krillin reluctantly agrees. In the original Japanese, Goku begs Krillin not to kill Vegeta, not because they are better than this, not because he sees good in him, but purely because he wants a chance to fight him again. His motivation is completely selfish, and he acknowledges this, but still he asks. Krillin is then torn between allowing his best friend to have his wish, and avenging their fallen comrades and stopping Vegeta from hurting anyone again. It's really heart-wrenching to watch Krillin stand down, and this scene brings a tear to my eye every time I watch it. It's also the moment when Goku starts to accept that he is a Saiyan – his thrill for battle far outweighs his sense of reason.

The remaining episodes are mostly exposition and filler. They set the scene for the next story arc as Gohan, Krillin and Bulma prepare to travel to planet Namek – Piccolo's homeworld, in search of the original Dragonballs, which are now their only hope for bringing back their friends. We also get hints of the next major villain in the series; Freeza. When I was younger, I actually quite liked a lot of the filler at this point, including the 'fake Namek' storyline, as they were quite interesting. But again, when you know it's filler it feels pointless to watch it.

When I was younger, I never really felt much for this story arc. I don't think it was just because I hadn't seen Dragonball – I was already familiar with the characters by the time I saw these episodes, as I had seen the entire Freeza arc. I think it was more down to the way the English dub handled things. When the editing is sloppy, it's harder to get immersed, and when the violence is toned down, the fights don't have the same impact. When death is covered up, you don't feel for the characters, and when they act like generic heroes and villains, it's harder to relate to them. This is the only story arc that was cut down so drastically, so the only one that has these problems on such a large scale.

Today, this is one of my favourite parts of the entire series. Every fight is intense, every attack has an impact, every victory is only narrowly obtained, and every loss is devastating. The revelation of the Saiyans and the transition to science fiction opens up so many doors for the series. While Raditz and Nappa were throwaway characters, they served their purpose and provided some amazing episodes. Vegeta makes a brilliant villain, providing Goku with his biggest challenge yet and one of the best fights in the series. The character development for Piccolo and Gohan is really touching, and even a lot of the filler is really enjoyable. I would say the slowest part of this story arc is the year of training, but these episodes also serve as an introduction to most of the cast, so do have a purpose for newcomers.

Overall, I feel that these episodes, when watched in the original Japanese, are a strong start to the series, and have some amazing moments. Sure, there are some filler issues, but if you're watching a DVD they can easily be skipped. I do wonder how Dragonball Kai handled this arc – does it have the same intensity as Dragonball Z? I probably won't find out any time soon. I only just completed my Dragon Box collection, so I'm not about to go out and buy the same series again. When I eventually do, I will be sure to give my thoughts.

p.s. Yes, I mix up sub and dub terminology depending on what sounds natural to me. Deal with it.

p.p.s. If it's not obvious already, I wholeheartedly endorse the Dragon Box sets. If you want to collect the entire series, this is the release I would recommend.

Saturday, 18 February 2012

Dragonball Z Revisited: Introduction

 “A journey that began long ago, in a place neither near nor far...
A story of heroes, passed down through the ages...
Until now. This is our story. These are our heroes.” - Dragon Box DVDs

What can you say about Dragonball Z? If you ask people about it, responses range from “Never heard of it” to “Don't really care for it” to “Isn't that the show where it takes five episodes for anything to happen?” to “It's over 9000!” to “I absolutely love it”. I was about eleven or twelve when I first got into the series. It was during the stage in my life when I was mostly watching cartoons, and I heard this show advertised and never had an interest in checking it out. I eventually gave it a go, and was surprised to find that I really liked it. I think, back then, it stood out to me because it wasn't like any of the other cartoons I watched; the story wouldn't be resolved within twenty minutes, each episode was just a small part of a much bigger plot. Also, it was the only show I knew where the characters would actually grow older. But that was me when I was twelve, and it was my first exposure to a series that actually told a long-running story. How does it hold up now that I'm twenty-three?

I'll get the obvious out of the way first – this series totally holds up. I love it just as much as I did back then. Something I have found interesting though, is that different parts of the series hold up differently. That is more what these blog posts will look at – which parts of the series are as good as I remember, which are better and which are worse. It will also note significant differences between the original Japanese version and whichever English dub I happened to watch the episodes in (seriously, we've had at least four different dubs over here!)

Before I go any further, I should enlighten any readers who are unfamiliar with this series. If you 're already caught up on your Dragonball history, feel free to skip to the last paragraph. Dragonball was originally a Japanese manga series that ran for 42 issues, written by Akira Toriyama. It followed the adventures of Goku and his friends, and their quest to protect the titular Dragonballs from falling into the wrong hands. These seven magical orbs, when gathered together, could summon a powerful dragon who could grant a single wish. Despite its name, the series focussed less on the Dragonballs and more on the group of friends brought together by a love for marital arts. Proving popular with readers, Dragonball was adapted into an animé which ran for a total of 444 episodes. However, in the animé, the story was divided into two series. After episode 153 of Dragonball, the following 291 episodes bore the title Dragonball Z. In Japan, this didn't make much difference, as the entire series aired in order, but in English speaking countries, it's a little more complicated.

When Funimation Productions first picked up the rights to Dragonball in America, they dubbed the first 13 episodes and aired them on TV. Ratings were poor, but rather than leaving the series, they instead turned their attention to the more action-oriented Dragonball Z. Their 26-episode adaptation of the first story arc was picked up by Cartoon Network, and gained a number of fans. This means that the vast majority of English-speaking fans were first exposed to the series through Dragonball Z, me included.

Something I will say about the series; all the English dubs have aged terribly. With awkward line deliveries, painful dialogue, unfitting music and nonsensical censorship, I really cannot say anything good about any English version of the series. When I started buying the series on DVD, I switched to the original Japanese version, and it is just superior in every way. There is no way the series would have aged so well if I had stuck with the English version.

Dragonball Z has seen something of a revival recently. In 2009, Toei Animation began airing a 'refreshed' version of the series, condensing the episodes, replacing the musical score and re-recording the dialogue. This version of the series was named Dragonball Kai, and ran for 97 episodes, but did not cover the final arc of the series, so essentially cut down 194 episodes into 97. Obviously Funimation licenced it in America, but distributed it under the name Dragonball Z Kai. I haven't properly watched this series yet, but from what I have heard of the English dub, it is very good, and I think I would actually choose to watch Kai in English rather than Japanese.

Over the past few years I have been collecting the American Dragon Boxes – Seven DVD sets compiling the entire Dragonball Z TV series (in fact, one of the main reasons I didn't buy Ratchet & Clank: All 4 One on release is because it coincided with the release of Dragon Box 7). I was intrigued to find that the episodes roughly coincide with how the series aired on English TV, so I get an odd sense of nostalgia from them. I will make this clear- this is NOT a review of the Dragon Box sets, but a review of the episodes contained within them. I will note which episodes I will be covering in each review, providing a brief story outline and discussing I liked and what I didn't like, and where the Japanese and English versions differ. I am putting a spoiler warning on this entire series, as I want to discuss the story and characters in a lot of detail, and I can't do that if I'm worried about saying too much. So with that said, my next blog post will cover Dragon Box 1. I won't do these one after the other, as I like to vary my blog posts, but I will try at do one a month for the time being.

p.s. If you're interested in knowing more about Dragonball Z, the two best sites for more information are Daizenshuu EX and Kanzentai. If you're looking to get into the series, but don't know whether or not you will like it, then I have a few recommendations. One would be to stream a few episodes online and see if you like it. Another would be to check out Dragonball (Z) Kai, as it is shorter and probably a little less overwhelming. The other option is to watch TeamFourStar's parody series Dragonball Z Abridged – it's well written, absolutely hilarious and keeps enough of the story intact that you can probably get a feel for whether or not you will like the series.

Monday, 13 February 2012

The Novel Writing Process: Part 2 – Creating Characters

It's been a long time since I've talked about creative writing. My last post on the subject focussed on the overall novel writing process; getting from the beginning to the end of a story. I always planned for this to be a series of posts, and wanted the succeeding posts to go into more specific areas of creative writing. Following up on this plan, I will start by discussing ways to create characters for a novel. Once again, bear in mind that I am not an expert, but these are techniques that I have found useful, so hopefully others will too.

When it comes to stories, I have always found that I am often much more willing to excuse a weak story if it has strong characters, than a strong story with weak characters. I find it hard to get into a story, no matter how well-written, if I don't care about the people involved in it. The characters are the ones to whom the events of the story are occurring, so the more we care about the people they are happening to, the more we will carew about these events. So I feel it's really important to make sure that the characters stand out, and really bring to life the tale that is being told.

The first thing to do when you put your story together is decide roughly how many characters you want to work with. The cast will be divided into three main categories; protagonists, antagonists and the supporting cast. The protagonists will be the main focus of the story – the characters who take the lead, who the reader is supposed to root for. The antagonists will be the providers of conflict – the ones who create obstacles for the heroes to overcome. The supporting cast will be the remaining characters the reader will encounter – those who contribute to the story without necessarily being the main focus. It's important to decide how many of each type you want to have, and how they will all fit together. As an example, my first novel had a fairly small main cast, but a huge supporting cast and a number of villains, giving the potential for a lot of interactions with a wide variety of different characters. My sister's first novel, on the other hand, had a larger main cast but a much smaller supporting cast and one main villain. This allowed her to focus much more on the relationships of the main cast, and how the whole group blended together. The decisions we made were based on the story we each wanted to tell. Hers was mostly focused on the characters' goal, whereas for mine I wanted to paint a picture of the world the main characters lived in. Likewise, you will need to decide how many characters you will need to tell the tale you want, and balance your cast accordingly.

To start building a cast of characters, I find the easiest thing to do is start with a very technical question – what purpose will the character serve? My characters generally start as a function (hero, love interest, best friend, tech guy, mentor, etc.), and their personalities are formed later. This might seem cold and unemotional, but I feel it gives the character a reason to be there, so they will contribute that much more to the overall story. This also helps stop you from going overboard. It's quite easy to get carried away creating a huge cast of characters, but if you don't want the story to feel cluttered or thinly spread. A quick example; a lot of people promote Final Fantasy VI by saying that it has the largest cast of characters of any game in the franchise. This is true, but I don't think that's a selling point. I personally found that Final Fantasy VI had more characters than it knew what to do with, and most of the cast were underdeveloped as a result. In a way, Hollywood has the right idea when it comes to character creation – never have two characters where one will suffice. I don't think novels have to be as strict as films in this regard, but it's important to be sure that every character has something unique to offer.

Now I should be specific – when I say the character is created to serve a purpose, this purpose shouldn't define who they are, it should give you justification for creating them. Once they have a purpose, you need to build them up. Start with the basics – are they male or female? Roughly what age are they? What sort of personality do they have? Are they light-hearted or serious, friendly or stoic? Do they have selfish tendencies? Do they get upset easily? I generally like to write up a basic character list with the character's name, age, any other important details, followed by a few sentences describing their backstory and basic characteristics. These will give you a rough idea of their personality and history, so you will know how to write them when you put them into the story. Ultimately, it's difficult to get the characters personality completely down in a character list – it will come out when you start writing them, but you still need a starting point.

One way to add depth to your characters is to give each of them a history, a life, a family. Even little bits of trivia like their middle name, their birthday or their favourite food can really flesh out a character. In your mind, these things should say a lot about the character and how they act. This doesn't mean all this trivia should be included in the story – most readers won't care what the character's favourite subject at school was, if it doesn't contribute in any way to the plot. As an example of this, remember when J.K. Rowling said that Dumbledore was gay? This was never mentioned in the novels, because Dumbledore wasn't a romantic character, so his sexual orientation wasn't important to the story. But this piece of trivia would have influenced the way Rowling wrote the character, so it forms a part of his identity without ever actually being said. I refer you to the following blog post from Mel's Ramblings on why sometimes, less is more.

The next thing to think about is character arcs. What development are you going to give your characters over the course of the story? What trials will they face? How will it change them? I remember reading in a creative writing book once that a character arc is like sitting your character in a tree and throwing stones at them until they fall down. The person who comes down from the tree will be a different person from the one who went up. While this is a particularly violent image, it shows the principle of character development – test their limits. If you're not sure how to challenge them, I learned another useful skill at University. When you create a basic character with a backstory and personality, map out all the possible directions that character could take, based on what you know of them. If the character claims not to care for anyone, challenge that. If the character is unconditionally nice to everyone they meet, challenge that. If your character doesn't believe in the supernatural, challenge that. How will they face the challenge? Will it change them or make their beliefs even stronger? If it breaks them down, will they piece themselves back together, or fall apart completely? I've found that character development can almost create two different characters – one before the trials, and one after. Not all characters in the story will need to develop – static characters can still be entertaining, and you probably won't have time to give every cast member an arc, but it's important to have at least a few character arcs in your story.

Another thing to bear in mind is character relationships – how will your characters interact with each other? Which characters are the best of friends? Which ones can't stand each other? Which characters will start out indifferent but become inseparable by the end? Get a basic idea of the dynamics of your characters, as this will help you to decide how you are going to write them. Often character relationships are integrated into their story arcs, so plan how certain events in the story will affect how the characters behave to one another.

Once you have created a cast of characters, there's nothing to do but let them run loose in the story. You'll have some ideas how how their journey will go, but as I have previously said, they may very well surprise you. I've found myself concentrating on relationships that I never really dwelled upon in my plans, and given full story arcs to characters who were originally intended to be one-shots. Something to remember is that early on you may not be entirely sure how you are writing the character, so when it comes to the second draft you will probably need to revise the earlier chapters. Don't do this as you go, or you will never finish your story. Ultimately, characters are almost like children – you give them life, you watch them grow, and it's almost sad when you finish a story, when you have written everything for them that you can.

There are a lot of finer details that could be delved into, but probably need their own posts to do so. I'll probably cover some of the more basic aspects of writing, and then later go into the specifics. There are so many aspects to creative writing, I'm starting to realise it will take a long time to cover them all. I'm hoping this should give people a rough idea of how you can put characters together. It's a lot of fun to create characters, but the best part is actually writing them in the story.

Sunday, 15 January 2012

Ratchet & Clank: All 4 One Review

 “For the sake of our own survival, and for drama, we must set aside our petty squabbles and act as a singular unit!” - Captain Qwark

If you haven't guessed by now, I am a huge Ratchet & Clank fan. It is rare that I discover a series that is just so fun to play, and at the same time has such brilliant characters that I just can't help getting drawn into the story. The funny thing is, I had the opportunity to play a Ratchet & Clank game long before I actually did. My brother had a copy of Up Your Arsenal (known as Ratchet & Clank 3 in Europe). I watched him play it a bit, and thought it looked rather silly, although cleverly put together, and never gave it a go myself. My first real exposure to the series was several years later when I went to University. I played Ratchet: Gladiator (or Ratchet: Deadlocked in America) with a friend of mine. After finishing Gladiator I played the rest of the series, and have been a fan ever since. I brought this up because my first Ratchet & Clank game was a co-operative one. So I was really excited to hear that Insomniac were making another co-op game. All 4 One has received a lot of negative feedback, based purely on the fact that it was a co-op title. As someone who actually likes co-op games, and someone who really enjoys the Ratchet & Clank series, I will give my thoughts on this latest instalment to the franchise.

This review should be pretty much spoiler free.

Story
Two years after the events of A Crack in Time, Ratchet and Clank have retired from the hero business, Captain Qwark is Galactic President of the Polaris Galaxy, and Dr Nefarious is still at large. The game begins when Captain Qwark is awarded the 'Intergalactic Tool of Justice Award' and goes to Luminopolis, escorted by Ratchet and Clank, to accept his prize. They are soon reunited with their old enemy, Dr Nefarious, who set up the whole thing to dispose of his three arch nemeses His plan to have them killed by a Z'Grute not only backfires, but catches the attention of a giant machine known as Ephemeris: The Creature Collector. Our heroes (and villain) are captured by the machine and taken to planet Magnus. They learn that Ephemeris had been collecting monsters from all over the galaxy and bringing them to Magnus for some unknown cause. Stranded on the planet, they reluctantly team up in order to defeat Ephemeris and find a way home.

The story really takes a back-seat in this game – it's really more an 'excuse plot' to get these four into a situation where four players can take control of them. There are not as many cutscenes as you would normally expect in a Ratchet & Clank game, which is fine, except I feel like the writers weren't making the most of the situation. The scenes that were there were really great, each one had me cracking up as I watched these four characters try to work as a team. I also like how the secret behind Ephemeris is gradually revealed step by step, allowing the player to figure a lot of it out for themselves. Most of the story is just the team going to various locations to get closer to Ephemeris, but as the story reaches its' climax things get so wonderfully ridiculous that I just couldn't help enjoying it. I personally would have liked more cutscenes, but since this game was designed for people to join in at any point, I can see that they didn't want players to have to catch up on loads of story.

Gameplay
This is the first game in the series that was built as a co-op game from the ground up. Gladiator/Deadlocked was clearly built as a single player game, with a co-op mode added later. There are three ways to play All 4 One – single player, offline co-op and online co-op. I played the game in offline co-op with my younger brother and sister. I think each method gives a different experience. For me, it was the first time I had ever done co-op with my siblings. We shared a PS2 back when we were all at home, and played a lot of the same games, but never played them together. This is the sort of game where the people you play it with defines the experience. My brother is a very 'down to business' player, so griefing was basically out of the question. We really focussed on the co-operative aspects of the game, whereas some groups might be more prone to throwing each other off cliffs. I think the single player experience is very 'civil' – your AI partner follows your lead, and generally tries to be as helpful as possible. I haven't yet plucked up the courage to play online – for all my love of games, I'm not very good at them, and I'd feel guilty messing up someone's playing session.

Now I've talked about the ways to play the game, let's talk about the game itself. All 4 One, like the rest of the series, relies on platforming, weapons and gadgets to get where you want to go, only this time adds a co-operative element to everything. The game's biggest strength is huge variety of creative situations. One minute you're performing super high jumps in a low gravity area, the next you're riding jetpacks down a mineshaft, the next you're jet-skiing across the sea and then you're blasting everything in your path atop a giant robot. There's always something new around the corner, and I was really impressed with all the fun scenarios the game puts you in. I think different people will enjoy different parts; for example, I rather enjoyed the jetpack segments, but my brother and sister really didn't like them. I wasn't fond of a lot of the vehicle sections where you had to steer co-operatively – this is a lot harder than it looks, and ultimately, the easiest way to manoeuvre is for one person to take charge. These sections will be hit-and-miss for a lot of players, but I think everyone will find something they enjoy. The game is very forgiving; it only ends when all players die, it is possible to revive fallen party members, and even if you do die, the checkpoints are well placed.

There is also a pretty good weapons selection this time around. Some are recycled from old games, but there are a few new ones too. I think my favourite weapon in the game is the Darkstar Fission Tether – a weapon that creates an energy beam between players and enemies. The Blitzer is a pretty fun melee weapon, allowing players to charge into their enemies, but ultimately isn't the most practical choice. This brings me onto my next point; using weapons together. The game encourages players to use the same weapon at the same time – a weapon becomes more effective if more than one player uses it. This is a great idea in theory, as it gives a great sense of teamwork. In practice, however, it causes a lot of problems. Part of the fun of a Ratchet & Clank game comes from experimenting with different weapons, throwing out different types of ammunition and seeing what results work well. When the game encourages everyone to use the same weapon, it restricts creativity. There is only one tactic – everyone use the Combustor (or the Warmonger if it's a boss fight). The game offers some great weapon ideas, but gives the player little opportunity to use them. It also annoyed me that the weapons didn't level up in this game. Instead, you just buy upgrades from vendors. Again, it gives little incentive to try out all the weapons; why bother giving every weapon a go when the game offers you nothing for it? So overall the weapons were good, but you'll probably just find yourself using the Combustor most of the time.

Each character also has their own unique weapon: Ratchet can throw out a decoy, Clank can slow down enemies, Quark can create a shield and Nefarious can turn invisible. In practice Ratchet's unique weapon is the only one that is of any use. There is one simple reason for this; Once a decoy is deployed Ratchet can go on to do something else. Qwark and Nefarious have to have their weapons equipped to use them, so I could run around absorbing enemy fire as Qwark, but without the ability to fire back I was hindering our team more than helping. Insomniac really should have tested these better to be sure that they were balanced. I should mention that we didn't have anyone playing as Clank in our playthrough, but I played as him in the demo and didn't find his weapon of much use either.

Then there's the gadgets. The most important gadget in your arsenal is the Vac-U – a device that allow you to throw fellow players across ledges. This is a great gadget, but one that you have to use with care – it's all to easy to miss and annoy your fellow players! It requires a lot of coordination – players will need to quickly decide who will throw who. The Vac-U has a lot of uses, and it definitely one of the most fun gadgets in the game. The classic swingshot is given a co-op twist, as players can use it to latch on to each other. Then we have the remaining gadgets; the Glob Lobber is used to weigh down surfaces, and is okay, the Quakehammer is completely useless outside the one level where it is needed, and the Reflector is pretty versatile, used to provide cover from lasers, but also to redirect them. My biggest gripe with the gadgets is that with the exception of the Vac-U and the Swingshot, they have been assigned to the quick select menu with the weapons. Why couldn't they have been assigned to the D-Pad like they were in A Crack in Time?

The Quick Select menu in this game is an absolute pain. In theory, the game should pause if all the players are in the quick select menu, but the game is very temperamental about when it actually does this. Often the game won't register that you've selected a new weapon, and the menu is so small on even a large TV screen that it's often hard to pick the right weapon. It's something that you get the hang of eventually, but it takes a lot of getting used to.

Now I think I need to talk about the biggest problem I have with this game: the camera. I completely understand that in order to offer offline co-op without using split-screen, having a single, uncontrollable camera was the only option, but it is so frustrating sometimes. Often it moves ahead of the party, causing players to be cut off screen and die as a result. Sometimes it isn't sure who it should be following, and leaves someone stuck somewhere, and it doesn't allow you to backtrack, so if you realise you've left some crates unsmashed, it is almost impossible to return to them. The camera is something that really needed a lot more work.

Overall the game has a lot of creativity, and some really great ideas, that are hindered by some problematic controls. I realise that I have listed a lot of negatives in this section. Don't get me wrong, this game is a lot of fun to play, and is extremely enjoyable despite all its flaws, but the flaws are very noticeable. I think it's at its most fun played in a group, just make sure it's a group who are willing to excuse some problems if it results in a really great co-operative experience.

Characters
Character wise, the main focus of the game is the relationship between the four playable characters. Of course Ratchet and Clank get along fine, but the real entertainment comes from Qwark and Nefarious. Our heroes might have a history with these two, but Qwark and Nefarious go way back. Qwark's naivety at thinking Nefarious is capable of turning over a new leaf, with Nefarious' constant assassination attempts, theoretical or otherwise make for some really entertaining interactions.

Looking at them individually, Ratchet appears to have grown a bit since the last game. He's still the reckless idiot we know and love, but he's just that bit more cautious. Clank, always the optimist, is pretty much the straight man of the group; polite, helpful, and trying to make the best of the situation. Qwark never fails to entertain; he has a wonderfully deluded vision of the world and is just hilariously self-absorbed. I think Nefarious is the character who develops the most in this game. Watching him struggle with the concept of helping his arch nemeses is just brilliant to watch. Every time he does something that could possibly be considered a good deed you can see how much he hates it, and I loved watching him try to decide between the lesser of two evils (or goods).

The only other returning characters this time around are our favourite senile warbots; Cronk and Zephyr, a welcome return as the group's mission control. Given the events of the story, Nefarious' butler Lawrence doesn't make much of an appearance. As for the new characters, Galactic Scout Susie is basically just a cute little girl, but she her interactions with Ratchet are really sweet. Dr Croid, a scientist with connections to Ephemeris, has an interesting backstory, and the scene where the main characters meet with him is one of the funniest in the game.

As for the villains, none of them were particularly memorable. Like Going Commando, this game had a definite threat, but not a clear enemy. I think All 4 One pulled this off better than Going Commando, but I still prefer it when there is a properly established villain As for side villains, the computer at N.E.S.T was pretty entertaining, but I got a bit of a Glados vibe from her (maybe Insomniac really do want to be Valve). If ever there was a forgettable side villain, it is Commander Spog. I really don't remember anything about him other than the fact that he had a cool voice and was a bloody difficult boss.

There weren't so many memorable characters this time around, but there was still a lot to enjoy, and both during gameplay and during cutscenes it was a lot of fun watching the four protagonists interact.

Graphics
The graphics look drastically different from the other games – the characters are animated in a completely different style, and some of them have very different proportions. Insomniac have justified this decision; all four playable characters will be on screen during gameplay, so they need to stand out. In order to do this changes had to be made, such as making Clank bigger and exaggerating Ratchet's features a little. Visuals-wise, the levels all look brilliant. The fixed camera means you have less freedom to look around at the scenery, but it all still looks amazing.

Soundtrack
With A Crack in Time's composer Boris Salchow working on the score for Resistance 3, Insomniac brought in another new composer; Michael Bross. Bross' soundtrack has a good balance of orchestral music and more synthesised tracks, which feels right for the Ratchet & Clank series. There were some great tracks, and nothing grated on my nerves, which is always good. Something I will say is that I think Insomniac need to keep a consistent composer for the series. I don't mind if it's Salchow or Bross but I think down the line it will feel jarring if the composers keep changing.

Overall Thoughts
Pros
Great co-operative moments
Lots of creative scenarios
Decent weapons selection
Entertaining story
Great character interaction

Cons
Frustrating camera
Controls can be irritating sometimes
Not all co-operative elements work in practice
Little incentive to make use of all weapons
Some wasted story potential

I definitely enjoyed playing this game, and would recommend it if you're looking for a very fun co-op title. Even if you're not as fan of co-op, there is still some great stuff in this game if you're willing to excuse a few problems. If you're a long-time fan of the series, don't go into this game expecting it to be like A Crack in Time. It's not, and was never intended to be. Even if I do prefer Crack, I'm really glad that Insomniac made this game. In my last R&C review I expressed my concerns that the series was losing its way, so it's comforting to know that Insomniac don't feel they need a dramatic story to make a great game. I think All 4 One was a bit of an experiment. It was an opportunity for Insomniac to try out some new things – something I think they really needed to do. Hopefully it will pave the way for some brilliant new games in the future, but until then, it's a very fun co-op title.

Thoughts for the Future
At this point in time, the only title that Insomniac have confirmed is their new game Overstrike, another 4 player co-op title. It will also be their first game that isn't a Sony exclusive. No new Ratchet & Clank or Resistance titles have been announced, so I honestly have no idea what will come next. Since Insomniac have two studios now, I am assuming that they currently have at least one other title in the works. I suppose we have to wait until later this year to find out. As far as Ratchet & Clank goes, I'm pretty confident that we will see more games. It is Insomniac's longest running series, so I think if they were going to end it they would make a point of it. There are still a lot of questions in the series that remain unanswered. Where are Angela Cross and Max Apogee? Will Ratchet ever find the rest of the Lombaxes? What did Tachyon's final words at the end of Tools of Destruction mean? I also feel that if they really put their minds to it, Insomniac could make another Up Your Arsenal. The Future Trilogy and All 4 One have brought in a lot of new ideas. If they could take the best bits of all these games, I think they could make something truly brilliant. Another thing we have to bear in mind is the fact that the PS4 will probably be announced soon. Will the series make the jump again when the times comes? Or will it end with the PS3? And if you happen to be reading this ten years after I wrote it, please feel free to laugh at my predictions.

Two weeks into the new year and I've done two blog posts. I can't promise to stick to a weekly schedule, but I might try to build up a buffer at some point, in which case I may be able to update weekly. We'll see.

p.s. In case you were wondering, I was Qwark, my sister was Ratchet and my brother was Nefarious.

Sunday, 8 January 2012

Ratchet & Clank Comic Series Review

I'm always really interested in seeing how something from one medium is brought over into another medium. It's a process that can work really well, but also go horribly wrong. One transition that I think we have finally learned how to do well is the transition from a written medium into a visual medium. Film adaptations of novels and comics are these days very well done, because most writers have got the hang of how to handle the source material. Something that we still struggle with is the transition from an interactive medium to a non-interactive one, and vice versa. Video games are very difficult to adapt into other mediums, because the interactive element is what makes them so enjoyable. Not to say it can't be done well, just that it is very difficult to accomplish.

Which brings us to the topic of today's post. When I learned that there was a Ratchet & Clank comic book series I was curious to see how it was handled. I originally thought the six issue mini series had never been released outside the States, but as it turned out, the Trade Paperback is available in the UK – compiling all six issues, so I decided to pick it up. The six issues were published by DC from September 2010 to February 2011, intending to tide players over until the release of All 4 One. It was written by T.J. Fixman – who wrote the story for A Crack in Time as well as numerous other Insomniac titles, and was drawn by Adam Archer. I'm not very knowledgeable on comics, so most of my critique will be based on the story, the portrayal of the characters and how well it represents the franchise.

Story
The story takes place between A Crack in Time and All 4 One. With Dr Nefarious defeated and The Great Clock safe, Ratchet and Clank decide to leave the Polaris Galaxy and go back to Ratchet's old home on Veldin. Their retirement is interrupted by a visit from Captain Qwark – now Galactic President of Polaris. He informs our heroes that he is facing a problem: planets are disappearing across the universe and he wants their help. Ratchet initially refuses, but when Veldin is the next planet to be taken, he and Clank must escape the clutches of Artemis Zogg, recover the stolen planets and save the universe from this new villain.

Interestingly, according to Fixman, this story was originally one of the ideas they came up with for A Crack in Time. However, since they were set on doing a time-travel story for that game, this one was shelved. I'm glad they found a use for it, since it's always a shame when potential stories never see the light of day. So was it any good? I enjoyed it, and felt it was very in-keeping with the series. When previous threats have included a plan to mass market a killing machine as a pet, a mad scientist who wanted to turn everyone into robots, and a search for a giant hat with a pull-string that was once responsible for saving the universe, this story about a former politician stealing planets to create his own galaxy feels right at home. One thing I really like about this story is the fact that it doesn't feel like the sort of story that could be told in a video game – it doesn't really lend itself to interactivity. It's quite dialogue heavy in parts, but in a good way, as it helps establish a lot of the relationships between characters. Some of the story events also don't seem like they would work in a video game. There is a scene in which Ratchet and Clank are given an ultimatum and have to make a difficult decision. The discussions surrounding the decision and the plan they go through with don't feel like they could really be playable. I think this is what adaptations should be doing – using a non-interactive medium to tell a story that couldn't be told interactively.

I do think the adaptation suffers in some places. One being in its length. As a comic book, the pacing is good, but as a Ratchet & Clank story it feels a little short. This comes from the loss of interactivity. Even the shorter Ratchet & Clank games generally last at least 10 hours. I finished this in an evening, and that was on top of doing other things (even if I were to complete Quest for Booty in a day, it would still take a large chunk out of that day). I don't think there is anything that could have been done to help this matter. The things that are fun to do in a game aren't as fun read on panels, so it was inevitably going to be a different experience. Part of me would have liked a longer story, but the one they told was done pretty well.

Characters
T. J. Fixman has been working for Insomniac since Tools of Destruction, and I would say for the most part the characters in this comic are written pretty well. I really like the way that Ratchet and Clank act almost like an old married couple at times – making references to plans to redecorate, and Ratchet's comment that they really need to start labelling important pieces of machinery so he doesn't try to use them to make pancakes. At times, however, I feel like they behave a little out of character. Ratchet seems to act uncharacteristically angsty at times, which is a jarring contrast to the happy-go-lucky hero I'm used to seeing. Yes, he had reasons to be angsty, but it just didn't feel right to me.

Other supporting characters come across well. It was nice to see Talwyn make a return, as she has been rather neglected in the recent games. Cronk and Zephyr are great, and Captain Qwark entertains as usual. I would say the main problem with the supporting cast is that it is very obvious that Fixman did not work on Up Your Arsenal. I was looking forward to seeing Sasha's reappearance and her interactions with Talwyn, but her role in the story was minimal at best. I get the feeling that Fixman didn't really know how to write her, so just had her stand around and look important. It's a shame really, because there was a lot of comedic potential. The comics really make a point that Ratchet and Talwyn are very close, but seem to completely ignore his relationship with Sasha. I'm not denying that Ratchet is probably a lot closer to Talwyn, but Sasha still has a history with him, and she blatantly had a crush on him when they first met, so it's a shame this didn't shine through. I feel that if the characters from the older games weren't going to be used to their full potential, they should have just focussed on the cast of the Future Trilogy.

As far as the villain of this story goes, Zogg is an interesting character who proves that he is willing to do whatever it takes to achieve his goals. The stakes were high, and the threat he posed forced our heroes to face some tough challenges and make some difficult decisions. I will say, however, that I'm not sure how believable his backstory is – to have changed so much from the man he once was, he can't have been right in the head. I think this is a problem that the series faces sometimes – when the writers have tried to give the villain a tragic backstory I never really buy it, because they act just as menacing as the unambiguous ones. A true tragic villain should genuinely believe that they are doing the right thing, and it should be that much more difficult to put a stop to them. Zogg is a good villain, but is nowhere near one of the best.

Artwork
Adam Archer's artwork looks really nice. His style is quite different to the games, so it takes a bit to get used to, but once you do it looks great. Again, I'm not an expert on comics but I can say that I found the panels easy to follow, the action scenes worked well and the characters were expressive. I have a few criticisms – in the earlier chapters Ratchet's proportions look really weird in some panels. He looks ridiculously short sometimes. The only other problem I had I think was more of an editorial mistake. There are a few panels where they get Cronk and Zephyr's names mixed up. It just really breaks the flow of the story when a blatant mistake like that is made. True, it was a long time before I remembered which was which, but if you're actually working on a story for the series you need to know these things.

Overall Thoughts
This comic book series was an enjoyable read. The story was compelling, the characters were entertaining and the artwork was great. I wouldn't say it's a must-read, but if you're a fan of the series and you want to see another Ratchet & Clank story I would say it's worth checking out. Just don't go into it expecting to be blown away. I think Fixman and Archer did a very good job adapting the series into comic book form, and if they were to release any more comics I think I would pick them up. I'm glad this comic was written – I think they tried some interesting things that couldn't be explored in a game. I would say, however, that I think Ratchet & Clank works best as a video game series, and that seeing them in another medium is a very different experience.

I was originally planning to read the comics before playing All 4 One, but it turned out that Forbidden Planet took forever to dispatch them to me, so I didn't read them until after I had already completed the game. I wanted to get this review out first, so I can talk about them chronologically, so expect my All 4 One review next.