m-cubed

Aspiring author/screenwriter/editor. Uses green ink for editing to soften the blow. No social media, unless you're interested in desserts on Pinterest. Feedback appreciated!

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Latest Articles

Film

Star Wars: Who is Rey (And Why Do We Care)?

Let’s wildly speculate. Rey, (arguably) the main character of the new Star Wars trilogy, was introduced with a conspicuous mystery...

m-cubed May 31, 2017

Latest Topics

Published

writing

Sci-fi

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Hard and Soft Science Fiction

Define ‘hard’ and ‘soft’ sci-fi. [See for distinction: (link) Why are they distinct? Where are each found (types of books, age/gender-demographics, or region)? Where does ‘soft sci-fi’ end and fantasy begin? Are they distinguished by authorial background? What trends have been seen in both over time (what are the trends right now?). Most importantly, what are their different narrative functions/potentials (are hard meant for commentary on humanity while soft are just set dressing? Vice versa?)? And why does the distinction matter?

Some examples of ‘hard sci-fi’: works of Isaac Asimov/H.G. Wells, The Martian, The Diamond Age, Interstellar (arguably)
Some Examples of ‘soft sci-fi’: Dune, Star Trek, Ender’s Game, Slaughterhouse-Five, most dystopians

Adding to the list above, I think Ted Chiang is an author who writes wonderfully in both soft and hard science fiction. Even his hard science fiction works still reveal a theme about humanity. I think these two distinctions are based on the social sciences vs. stem (chemistry, engineering, physics, etc.) but I think both groups are important. Soft is just as important as hard; the one biggest thing that truly differentiates them is the subject matter, but both types of fiction still tell a story. – seouljustice 7 years ago
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literature

Aeneid/Odyssey

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Comparing The Aeneid and The Odyssey

Analyze the differing portrayals of ‘heroism’ in the Aeneid and the Odyssey, two epic poems which explore the lives of heroes after the events of the Iliad. What do these differences reveal about the different values of Romans (Vergil) and the Greeks (Homer)? Consider Aeneas’ internal struggle between acting in self-interest, as Odysseus often does, and following his destiny and exhibiting ‘pietas’. What roles do the influences of Octavian and Homer play in the Aeneid?

Good topic. Something worth addressing could be the different conditions in which the two texts came to be written and "finalized." Whereas it's widely accepted that Virgil was one autonomous author who penned his opus from start to finish, it's been argued that Homer's works were originally recited orally and written down by the author's (or possibly authors') disciples and compiled into the complete text by later editors. How might these different processes of composition have shaped the narratives within them? – ProtoCanon 7 years ago
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This is an awesome topic! The Aeneid and the Odyssey are truly national stories and can tell alot about what the Greeks and Romans valued for better or worse! Two great national works of literature. – SeanGadus 7 years ago
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film

Oldboy

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Examining the Different Versions of 'Oldboy'

Consider Park Chan Wook’s ‘Oldboy’ (2003) and Spike Lee’s American (2013) remake. What do the differences in these two works reveal about their respective cultures?

I totally forgot about Spike Lee's remake. I have to wonder how he'd handle the ending. – John Wells 7 years ago
3

comics

Gunnerkrigg

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Gunnerkrigg Court: Nature, Magic, and Technology

Analyze the juxtaposition of nature, magic, and technology in Tom Siddell’s long-running (12 years so far) webcomic, Gunnerkrigg Court. How does Siddell allow these three to coexist, and how does he allow them to clash? Does Siddell favor any of the three? How are these elements connected to the two main characters/settings (Antimony and Kat, The Court and the Forest) and their respective flaws?
(link)

I love this idea, just as I love the webcomic. A close look on the contrast between Kat and Annie and their respective strengths and friendship could be really interesting in this topic! – RachelSinclair 7 years ago
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writing

Passive Characters

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Can Passive Characters Still Be Engaging?

Kurt Vonnegut once said that "every character should want something, even if it is only a glass of water." But can some characters, like some people, be partially passive elements in a story? The orphan who doesn’t care who their parents are, the divorcee who makes no attempt to salvage their marriage, the hero that saves the world because..they do. Is it possible to have a compelling story with such characters playing a central role?

Interesting topic, but to me the title and description are asking different things. The dichotomy between active/passive is not synonymous with wanting/not wanting. Someone can want something without taking action to achieve it; likewise, a "reluctant hero" can take action toward a goal that s/he doesn't really care all that much about. To use Vonnegut as an example, Billy Pilgrim is a great example of a protagonist who doesn't really appear to want anything in particular. He's just floating through time and space (or rather his own PTSD-inflicted psychosis), but never seems to have a goal in need of pursuit. The logic of that is, if you know everything that'll ever happen to you, and understand the inevitability of it all, then there's no point in exerting effort into anything to the contrary (aka Dr. Manhattan Syndrome). I suppose that still counts as being passive; perhaps a better example would be Lyubov Ranevskaya from The Cherry Orchard, or Vladimir and Estragon from Waiting for Godot. All of them have a specific goal (to save her estate from being sold, to meet Godot), but spend the entire duration of their respective plays doing nothing to achieve them. To answer your title question, all we need to do is ask whether or not we find such characters engaging, and then maybe follow that up with "why." – ProtoCanon 7 years ago
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I'd be interested to see you explore characters whose situations force them into passivity. Often, we as readers or viewers criticize characters for not doing anything or wanting anything, but we forget they can't. Cinderella is probably the easiest example. She's criticized for not changing her situation, but has few or no options other than to stay with her abusers. Miss Honey from Matilda is another example, as is Solomon Northrup from 12 Years a Slave. But a character doesn't need to be enslaved to fit this description, or even abused. Sometimes an oppressive culture can do the job, or just reluctance to leave a situation because someone you love is in a more vulnerable position, leaving you feeling they must be protected. – Stephanie M. 7 years ago
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ProtoCanon: I understand what you're saying, but I think I'll leave the title and description different so that the author of this article can choose which they prefer. Thanks for the great comment! – m-cubed 7 years ago
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I really like what Stephanie said. If an author writes a character who is passive, he/she likely had some specific reason for doing so. What in the character's background caused them to be as such? Is this just part of the character's personality? How does this trait function within the storyline? If there isn't a specific purpose, then the character will fall flat. – itsverity 7 years ago
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I actually like characters with more passive or introverted personalities because to me, they are easy to root for. You want to see them break out of their shells, experience the world, and not feel so "buttoned up." At the same time, you want them to come to a place where they are at peace with *natural* passivity, as opposed to what has been forced on them. – Stephanie M. 7 years ago
2

literature

Dune

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The Success of Herbert's Dune

Why was Dune so successful despite being largely inaccessible to a mainstream audience? How did Herbert manage to write the best-selling sci-fi novel of all time (surpassing classics such as the works of Asimov and Wells)? While rumors of its reboot arise, why might a major studio (Legendary Entertainment) take on such a sprawling project?

Overall, what is the appeal of Dune, and why has it been so enduring?

film

Style VS Convention

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What Determines Success When Challenging Convention?

Many directors who have a very distinct style; however, some are criticized for not adhering to convention (Batman V Superman’s lack of establishing shots, Le Miz’s use of handheld and disregard of the fourth wall*) while others are praised for it (Wes Anderson’s constantly symmetrical shots, which ignore the Rule of Thirds). Why are these so differently received? Which filmmakers are successful when they challenge convention, and why? Success here is defined by critical and popular opinion (‘majority rules’), rather than box office returns.

This topic should mainly address technical aspects of filmmaking such as lighting, camera-work, and cinematography, rather than plot or character.

*from Film Crit Hulk’s excellent review

Interesting observation, but I think what these directors are being critiqued or praised for is not so much the mere act of "breaking conventions," but rather the results of their artistic choices. To use your examples, Snyder's lack of establishing shots may be a creative choice, but it makes the plot harder to follow, which complicated the viewing experience. Alternatively, Anderson's symmetrical framing enhances the viewing experience, adding to the overall whimsy of his trademarked style. (I won't comment on Hooper, because I rather liked what he did with Les Mis, attempting to replicate theatre aesthetics in cinema. However, I feel that Joe Wright did this much better that same year in his Anna Karenina, but that was also torn apart by the critiques.) My point is, iconoclasm in and of itself has no inherent value; it depends entirely one what is being revolted against, for what reasons, and what comes of it. – ProtoCanon 7 years ago
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Latest Comments

Jan 9, 2018 m-cubed Way preferable to anything explored here; I didn’t think Disney would go in that direction, but Rian Johnson structured that entire movie in a ‘rebellious’ (to Star Wars tradition) manner, so it was kind of inevitable given his method. Rey’s underlying obsession with seeing her parents (cave scene) was kind of weird, as it didn’t gel with any of her other character motivations; I wish that had been handled better so the actual reveal had more emotional weight (but the reveal scene was well-acted, etc.).	Star Wars: Who is Rey (And Why Do We Care)?
Sep 1, 2017 m-cubed If I’m remembering correctly, Batwoman was created to disavow Batman and Robin’s seemingly ‘gay’ relationship-either due to censorship, or just reception. Some poetic justice: the current Batwoman is DC’s #1 lesbian character. (A continuation on gay characters: the 2015 Midnighter miniseries is really good; if anyone’s interested)	Comics Code Authority: How censorship has affected the history of American comics
Jun 2, 2017 m-cubed Can’t believe I never know about those; thanks for teaching me a new thing!	Star Wars: Who is Rey (And Why Do We Care)?
Jun 1, 2017 m-cubed He’s only about ten years older than her…	Star Wars: Who is Rey (And Why Do We Care)?
Jun 1, 2017 m-cubed ? Please elaborate.	Star Wars: Who is Rey (And Why Do We Care)?
Feb 26, 2017 m-cubed Yes, but take a look at BvS’ budget, especially its marketing budget. It’s not as if they aren’t getting a ton from WB.	The Success of Marvel Movies and Why DC Falls Short
Feb 26, 2017 m-cubed They definitely could. Despite the inherent silliness of most comic book characters, many have great depth and themes to explore (Dick Grayson, whom I will never shut up about, is very complex and interesting, despite originally donning a mullet and 80s-style suit. His storyline is the best way I’ve seen the inherent dichotomy of youth and growth explored. I can definitely see an action-art house hybrid film with him in the lead). The problem is that DC (mainly Snyder) is equating the ‘grimdark’ style and ‘edginess’ with depth, along with the basic elements of an Intro-to-Philosophy course. They think heavy-handed Jesus imagery makes a film deep and artistic, while it actually makes it more stupid when unearned and blatantly shoved in. The weird pseudo-Christian narrative Snyder has been forcing is the problem, rather than the source material defying complexity. Take a look at ANAD Moon Knight, Watchmen, TDKR. Even Red Hood Rebirth has some themes going on. Comic books can undoubtedly be deep and complex, just not in the way DC has been forcing it.	The Success of Marvel Movies and Why DC Falls Short
Feb 26, 2017 m-cubed By that logic DC should have objectively better films because there’s more care put into them, which unfortunately is not the case (coming from someone who usually likes DC more). I think they prioritize the wrong things. Marketing for SS was great, but then they neglected…the rest of it. If you look at the CG Behind-the-Scenes for BvS, they put a ton of work into Doomsday’s ‘birth’ scene, but neglected the actual STORY and PLOT (and design of Doomsday for that matter… I don’t care how good your textures are if your monster looks generic/boring). They devote more time to each film, but that doesn’t make them better, even though it should.	The Success of Marvel Movies and Why DC Falls Short

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