Tag: empire

GIANT ROBOTS!

Forgive the all caps, but with a name like this, you gotta go big! Thanks to a helpful suggestion from a respected colleague (thanks Rami!), I’ve finally found the latest for my series on conceptual post. And I think my reasons for going with it are clear. Whether we are talking about mechs, mechas, walkers or sentient machines, giant robots are just plain cool! And here’s a list of some memorable ones from various franchises that have come down to us over the years:

AT-AT Walker:
It’s only right to start the list with a classic example from the classic franchise. Though I’m sure this giant needs no intro, I’ve recently come to learn that there are some people who really haven’t seen the original trilogy. Yeah, I can’t believe it either!

Known officially as the All Terrain Armored Transport, this beast was the Empire’s weapon of choice for digging Rebel troops out of fortified emplacements. It’s size alone made it an intimidating sight to behold, which was kind of the point! But in case that wasn’t enough to make people run, it also packed quite a punch.

AT-AT cross-section

Although they were invented by the Republic during the time of the Clone Wars, the AT-AT didn’t emerge as a weapon of terror until the time of the Empire when it was resurrected by General Veers. During the Battle of Hoth, her personally led a force against the Rebel Echo Base and overwhelmed its defenders. Its armor proved too strong for conventional blasters, and its weapons were devastating once they were in range.

Under Luke Skywalker’s command, Rogue Squadron was able to destroy one using their tow cables while Skywalker destroyed another using his lightsaber and a concussion grenade. However, this did not stop Veers from destroying the shield generator and reaching Echo Base in the end. On Endor, an AT-AT would make an appearance guarding the Imperial shield generator.

Broadside Battlesuit:
Finally, I’ve found an excuse to use something from Warhammer 40k! It’s a little hard to incorporate ships when the focus is really on cool battlefield stuff. But hey, the sign says Giant Robots, so we’re all good!

The Broadside Battlesuit is the Tau Army’s heavy hitter, marrying the concept of a tank with that of an infantryman. Armed with two arm-mounted missile launchers and two rail guns on its back, the Broadside is more like a mobile artillery piece than a mechanized suit of armor.

But of course, it also has a thick hide, which is a necessity given the mighty kickback of its weapons. Though they are comparatively slow and have no jetpacks, like other Warhammer mechs, they are able to entrench and kill their enemies from a distance.

Destroid Tomahawk:
Speaking of walking tanks, this next example comes from the Robotech universe and is the mainstay of Earth’s mecha forces. Big, bad, heavily armed and armored, the Tomahawk is essentially a walking version of the main battle tank.

In terms of armaments, the Tomahawk carries just about every weapon under the sun. It’s two heavy beam cannons constitute its arms while two missile launchers make up the shoulders. It also carries two head-mounted machine guns, two gun clusters in the lower chest consisting of an auto-cannon, flame thrower, laser and direct-fire mortar. On top of all that, it also has an outboard missile launcher over its right shoulder.

Measuring almost 13 meters in height and weighing a whopping 31 tons fully loaded, this beast is still capable of running at 88 km/h. It also came equipped with vernier thrusters, making it capable of limited space operations. Unfortunately, its size and weight made it somewhat cumbersome when engaged with Zentraedi Battlepods (see below), which is why the design was eventually abandoned in favor of lighter designs.

Dragoon:
You know, I think this is the first time I’ve mentioned Starcraft in the context of one of these posts. Bout time really! And as a primary example of something cool from this universe, here’s the Dragoon! Much like other examples on this list, this machine requires an organic operator, or at least parts of them…

A quadrupedal attack walker employed by the Protoss, the Dragoon was considered a second chance for templars who had been seriously wounded in the line of duty. These pilots would generally be submerged in a fluid-filled tank in the Dragoon’s interior and operate it through an “essence translator”.

The Dragoon’s main weapon was of a centrally-mounted cannon which fired phases antimatter at targets. Combined with the units speed and maneuverability over unstable terrain, the Dragoon was a highly effective fighting vehicle and played a crucial role in the Brood War. It was due to this success that other factions, such as the Dark Templars and the Confederates, attempted to copy or adapt the designs for their own armies.

Fuchikoma:
Also known as “Tachikoma”, these walker/rollers are essentially tanks that are used by police in the manga series “Ghost In The Shell”. Heavily armored, packing serious weapons and run by a simple artificial-intelligence, these robots can act independently but are generally used for fire support.

Every unit is based on the same quadrupedal configuration with two three-fingered hands which double as machine guns. They carry their sensor equipment in their “heads”, which consists of a large main lens and two sensors mounted on the “mouth” below. Heavier weapons can also be mounted on the underside, which can either be a heavy machine gun or a grenade launcher.

In addition to their firepower, the Fuchikoma is also highly versatile. They can handle many different types of terrain, are able to walk up walls, rappel, walk, extend wheels from their feet and drive, and are also even submersible. After missions, the AI’s also share their experiences with all other units so that they can learn and anticipate different scenarios.

Goliath:
Back to Starcraft for another prime example of supreme robotry. And fans of the Marine campaign will certainly recognize this one. Officially, it is known as a Terran all-terrain combat walker. But to those who fight alongside it, it’s known simply as a Goliath.

Designed to provide support for troops in urban settings, the role of the Goliath expanded to providing infantry assault in all terrains and conditions. Employed by just about all sides during the Guild Wars, the Goliath became the backbone of Confederate forces against the Zerg and Protoss.

Composed of neosteel alloy, the Goliath’s exterior is highly resistance to small arms fire and most munitions. It’s weapons consist of two arm-mounted autocannons, two shoulder-mounted missile launchers. With the arrival of the UED during the Brood War, the Goliath’s design was upgraded with a belly-mounted machinegun and improved missile range. By the time of the Second Great War, the design was retired in favor of updated designs.

Metal Gear Rex:
Seems like a fitting name when you look at that gaping maw doesn’t it? And given its size, shape and terrifying power, the comparison seems even more apt. The focal point of the Metal Gear game series, this behemoth was a prototype weapon developed by DARPA and Arms Tech for the US Armed Forces.

Based on stolen designs from the former Soviet Union, Metal Gear was a revolutionary concept for a “bipedal tank” which would be capable of carrying nuclear weapons. After decades of toying and production, the end result was Rex.

In terms of armaments, the Rex has two 30 mm rotary cannon, a compliment of anti-tank missiles and 100 megawatt free-electron laser. However, its biggest surprise comes in the form of a massive shoulder-mounted rail gun which is capable of deploying stealth nuclear warheads. So in addition to being able to gallop into the field of battle and level everything in its wake, it was also capable of nuking an enemy city from several kilometers away.

Scary! I want one! Several version of Metal Gear would appear in the subsequent games with various modifications. But that’s something for another post (or more) 😉

Timberwolf:
No list of giant robots would be complete without at least one example from the Battletech universe. And here it is! The Timberwolf, otherwise known as the Mad Cat. Fast, heavy and quite formidable, this vehicle puts the “mech” in omnimech!

According to the series, this vehicle was the first omnimech to be encountered by the Inner Sphere Clans invaded. It was here that it earned the name “Mad Cat”, being similar in design to both the Marauder (MAD) and Catapult (CAT). It’s rare combination of speed, heavy armor and armaments also led to this designation. Apparently, this combination is quite rare!

In its primary configuration, the Timberwolf packs a good balance of energy and projectile weapons. It’s main armaments consist of arm lasers and two shoulder-mounted missile pods, both of which are effective at long range. It also carries two medium lasers and a medium pulse laser for close range combat, and a set of cockpit mounted machine guns for point defense against infantry.

Though it has no jump jets, the Timberwolf is capable of running at over 80 km an hour and is capable of some nimble maneuvering. It’s composite ferro-fibrous armor also mean it can withstand several directs hits from enemy fire.

Unicron:
You know, I’m loathe to use the same example twice. But hey, the name says Giant Robots, and Unicron is nothing if not both of these things! Taken from the Transformers movie (circa. 1986), this big bot is the biggest bot in the universe, and an appropriate one to end this first installment on.

Also known as the “Lord of Chaos” and “Planet Eater”, Unicron is essentially a planet-sized transformer who goes about the universe consuming stellar objects. These can include planets, asteroids and even stars.

Powered by an array of massive quantum computers, Unicron is dedicated to being a force of uncreation, traveling across universes and consuming all he can to bring about an end to all existence. In addition, he is apparently able to confer powers on lesser beings, using the impressive technology which powers him to upgrade other machines.

In the end, the only thing that could stop him was the Matrix of Leadership, which contained the essence of his equal and opposite – a being known as Primus. Being a creature of destruction, such a creative power could only be seen as a threat. And it certainly was! In the end, the Matrix was opened inside his hull and unleashed a force which completely consumed him.

Well that’s all I got for now. Hope people enjoyed this little display of oversized automatons, mechanized vehicles and massive war machines. And like the song says:

“You dig giant robots
I dig giant robots
We dig giant robots
Chicks dig giant robots
Nice.”
-theme song from Megas XLR

And it’s true aint it? Except for the part about chicks, I can’t say with any authority that they actually dig giant robots. But I know I do! See ya next time.

Cool Ships (volume IX)

Borg Sphere:
BThis first example shows us that thought they were obsessed with simple geometric shapes, the Borg were capable of thinking outside of the cube. If anything, the sphere is a more perfect shape and aesthetically way more pleasing, so its a wonder why they didn’t do it sooner.

Making its first appearance in Star Trek: First Contact, the sphere appeared to be an auxiliary craft which was housed inside a Borg Cube. But in truth, these vessels were actually much more versatile, acting as scout ships and tactical vessels, doing deep-space reconnaissance or performing light assault missions.

In the spinoff series Voyager, Borg Spheres make several appearances. The most notable of which was the series finale (episode 168: “Endgame”), where Voyager was pursued and overtaken by one and had to destroy it from the inside to escape. This, in addition to scenes from other episodes, indicated that every sphere has an internal compartment capable of housing a sizable starship.

Measuring 600 meters in diameter, a standard Borg Sphere carries a crew of 11,000 drones, is protected by regenerative shields, ablative armor, and has the usual array of Borg weapons (which include tractor beams and disruptors). It is capable of warp speed, transwarp speed, and in some cases, can even generate a temporal vortex to achieve time travel (as was demonstrated in First Contact).

Jem’Hadar Battleship:
dominion_dread2You know, I was never was much of a Trekkie. Compared to other franchises, I never really did get into the shows that much. That is, until DS9 introduced the whole Dominion plot line, then I got into it with both feet! Space battles, explosions, ships blowing each other up… what’s not to like? And to make these battles happen, the show’s conceptual artist had to come up with some new designs.

One such design was the Jem’Hadar Battleship, which made its debut in season 6 (episode 144, “Valiant”). Introduced midway through the war, this new breed of warship was designed for the sole purpose of breaking the stalemate between the Dominion and the Allies. That and inspiring fear!

At twice the size of a Galaxy-class vessel (USS Enterprise D) and boasting over 40 torpedo launchers, this ship was clearly meant to be so large and so powerful that no Federation or allied ship would have a hope of stopping it. However, its size and speed also made it a relatively easy target for multiple enemy ships, which would have no trouble hitting it and could outmaneuver it in battle.

After it’s initial deployment, where it destroyed the USS Valiant, several battleships were rolled off the line and took part in the war, especially during the latter engagements of the war like the Battle of Cardassia. Many ships were needed to break the lines which they reinforced, and it was only by the timely defection of Cardassian forces that the Dominion was overwhelmed in these battles.

USNC Spirit of Fire:
To the Halo universe once more, this time for a look at a modified colony ship known as the Spirit of Fire! Making its appearance in Halo Wars, this ship was the largest in the UNSC navy and served with distinction during the Covenant War.

As already noted, the Spirit of Fire was originally a Pheonix-class colony ship, a vessel that was designed to carry colonists and supplies to new worlds as part of the UNSC’s prewar expansion efforts. However, this changed with the appearance of the Covenant and their apparent need to knock over human settlements.

Recommissioned for military service by the UNSC, the Fire was outfitted with a magnetic accelerator cannon, point defense guns and missile turrets, hull armor, and a major engine overhaul. Its internal bays were also converted to carry Scorpion tanks, Warthogs, Pelicans, fighters, bombers, and anything else it would need to put a small army onto a planet. As a former colony ship, the Fire retained the ability to enter atmosphere and land planetside, making it all the more effective at troop deployment.

During the course of the war, the ship was declared missing and all hands were presumed dead after it failed to return from a mission. However, the ship was actually traveling back at sublight speed from an engagement after it lost its fusion core. The crew had used this to destroy a Forerunner “Shield Planet” which happened to be housing a large Covenant attack fleet. In sacrificing its engine core, it prevented a major strike by Covenant forces on human territories, and therefore saved countless lives. Not bad for a civilian ship, eh?

SDF-1 Macross:
SDF-1 MacrossWhen you hear the words, Super Dimension Fortress, what comes to mind? Definitely not a piddly little spaceship! Which is probably why the Macross’ full name contains them! Apparently, this ship was rebuilt from the remains of an alien craft that crash-landed on Earth, and was intended for use should said aliens ever come knocking again.

Although intended to travel to distant solar systems and promote peace with alien species, the Macross became the first line of defense once war with the Zentradi species began. Much like all the “mechas” from this franchise, this ship is capable of changing from its ship designation into a towering mech (known as “Storm Attacker” mode), a process which takes about 15 minutes.

The massive ship also carries the two carriers – the CVS-101 Prometheus and SLV-111 Daedalus – within it’s fuselage. When in cruiser mode, these are housed along the sides, but while in “Storm Attacker” mode, they constitute the robots “arms”. In terms of weapons, this baby comes equipped with 8 guided converging beam cannons, four 178cm rail cannons, automatic missile launchers, and a main super-dimension-energy cannon. Aliens beware!

Strident-class Star Defender:
StridentIt’s funny how the Rebels only seemed to get into mega-ships after the Empire was thoroughly licked. And yet, here we have another Star Defender ship which comes from the expanded Star Wars universe and only showed up for duty after the Empire lost all its big behemoths.

Produced by the Corellian Engineering Corporation (natch!), the Strident-class was the first breed of Super Star Destroyer to serve on the side of the Alliance (which now called itself the New Republic). But of course the Alliance didn’t like the term “destroyer” when applied to their mega ships, hence the name change. But the particulars are pretty much the same.

Much like the Viscount-class produced by the Mon Calamari, the Strident comes equipped with thousands of turbolasters, laser cannons, and ion guns, and its massive hold houses dozens of squadrons of starfighters as well as hundreds of shuttles and support ships. It took awhile but I’m guessing the Rebels finally decided to go big or go home!

The Spacejockey ship:
I can’t wait to learn more about THIS one! As the focal point for the first Act of Alien, the “Spacejockey” ship is also central to the plot of its soon-to-be-released prequel, Prometheus. Known also as “The Derelict”, very little is known about this ship other than the fact that it was of unknown origin and appeared to be transporting xenomorphs.

The Derelict was first discovered by the crew of the Nostromo when their ship was rerouted to LV-426 to investigate a distress beacon. When they approached the ship, its alien configuration was immediately clear. Shaped in the configuration of a horseshoe, the ship apparently had two prongs, one longer than the other, and an engine array located at the rear.

SpaceJockeyWhen investigating the inside of the ship, its alien nature became even more apparent. Whoever the Space Jockeys were, they clearly shared H.P. Lovecraft’s sense of aesthetics! Literally everything aboard looked organic and gothic, right down to the funky patterns on the walls! When discovering what appeared to be a control chair, the crew stumbled onto the remains of a long “Space Jockey” as well. Having an anthropomorphic shape and a trunked face, they are assumed to look like a cross between a human and an elephant.

Closer examination of the remains revealed that it died from a “chestbuster” breaking through its ribcage. With the discovery of the ship’s compliment of eggs, and the observable symbiosis between the “facehuggers” and “chestbusters”, it was unclear why the Spacejockeys were transporting them. Perhaps they came aboard by accident, perhaps they were intended for another use somewhere. These are all questions I look forward to being answered… say June-ish!

Vor’cha-class Cruiser:
Vor'chaSeems the Klingons are getting a lot of attention from me as of late. But I’ve come to acknowledge just how many cool ships they really do have. Clearly, these blood-drinking, Valhalla worshipping guys excel when it comes to bringing beauty to their instruments of death. But then again, one would have to assume that it’s one of the few artistic outlets they get to have!

Taken from the TNG universe, the Vor’cha was the mainstay of the Klingon armada and the replacement for the aging K’t’inga-class. The first of its design served as the flagship for the Empire, but became fully integrated into the armada once it was mass-produced and replaced by the larger Negh’var-class.

Making its first appearance in season 4 of Star Trek: TNG (episode 80: “Reunion”) where it served as the Chancellor’s flagship, this vessel would go on to make several subsequent appearances in the expanded franchise. It’s most notable appearances were during the Klingon-Cardassian War where several participated in the assault on DS9 itself. Later, during the Dominion War, many more would serve on the front lines against the Jem’Hadar and their allies.

Naturally, this Klingon ship boasted multiple disruptor arrays, the main one located at the front end of the ship with two more mounted on the wings beside the nacelles. These were capable of firing in either the solid mode (like a phaser) or intermittently. Maneuverable for a ship of its size, it also came equipped with a cloaking device which was available in all flight modes.

Vorchan-class warship:
centauri_2This ship gets seen a lot around the B5 universe. And since I can’t stop hitting them up for cool ships, it only makes sense to mention this baby here. The Vorchan-class cruiser, a medium warship, was the mainstay of the Centauri fleet and weapon of choice when it came to raids, reconnaissance and even large-scale offensive operations.

Though designed predominantly to escort heavier cruisers, such as the Primus-class warship, Vorchans were still highly effective in small squadrons and were often called upon to mount attack missions by themselves. During the Narn-Centauri War, Vorchan warships carried out many assaults on Narn colonies and installations and even participated in skirmishes with the heavier Narn warships.

Its armaments consist of two plasma accelerators, missile banks and guided mines. These armaments, paired with its size, speed and relative maneuverability allow it to stand toe-to-toe with just about anything the Narns, Earth or League of Non-Aligned Worlds could throw at it. And unlike the heavier Primus ships, it is capable of maneuvering inside atmospheres. And it’s cool, raptor-winged like design makes it pretty easy on the eyes too. Were it not for the fact that Roddenberry beat them to it, you can bet the B5 designers would have named this ship a Bird of Prey!

Nine down, who the hell knows how many more to go!

Of Prequels And Why They Suck…

Of Prequels And Why They Suck…

Looking back, I’ve noticed a sort of thread running through some of the posts I’ve made. And in truth, this thing was quite influential when it came to what inspired me to write science fiction in the first place. It began with the infamous Star Wars prequels, the movies which ruined what used to be a very influential and nostalgic franchise. It was then reinforced by the odious Dune prequels, which tarnished the legacy that inspired me to write science fiction in the first place. Since then, I’ve noticed these same elements at work in any prequel I’ve chanced upon and the lessons only seem to get more concrete.

While I’m no expert on the fine art of writing, be it science fiction or anything other genre, by the time I started doing it I was pretty clear on what I wanted to create. Basically, I wanted to write something I would enjoy, something that emulated the greats I had come to know and admire. But when it came to what I DIDN’T want to do, I found prequels summed up a lot of it succinctly (especially the aforementioned examples). I’m sure I mentioned as much in previous posts, but today, I thought I might speak to these things specifically; outline why prequels can – and often do – suck!

1. No Surprises:
Whether it was the Star Wars prequels, X Men Origins: Wolverine, the Legends of Dune series, or anything else prequel-oriented, there was one undeniable problem they all had in common: we already knew what was going to happen. By stories end, we know that the characters are going to become whatever it is they were in the original story, and we know who’s going to live and who’s going to die. In some cases, we even know how, so there really are no surprises. The only real purpose of a prequel is to fill in the background, explain HOW things happened and how the characters and story we are familiar with came to be.

For example, in Star Wars, we know that Anakin becomes Darth Vader, that Palpatine is the villain and will take over the Republic, and that Amidala will give birth to Luke and Leia before dying. There are a host of other details which the more nerdy among us were familiar with as well, and we were all drawn to theaters back in 1999 hoping to see how they played out. But in the end, when all was said and done, I don’t think any of us came away satisfied. Seeing how things happened when you already know what will happen just seems to make for a disappointing experience.

2. Sense of Duty:
Another thing that brings down a prequel is the fact that things MUST be explained. In short, the writer, director, author, etc. has a list of things which need to be covered before the end. These things have to fall within an established framework – i.e. what has already been established by the original story – and cannot contradict or be inconsistent with them. So really, in addition to having a story where there really are no surprises, you also get a story where things have to proceed in an established fashion and often seem heavily contrived. The end result is not what would feel natural based on the story so far but based on what needs to happen for the sake of the original story.

X-Men Origins will suffice as an example here. In this movie, the story had to show where Wolverine came from, how he and his brother (Sabretooth) had their falling out, and how his memory got erased. The result was actually pretty weak, in my opinion. Basically, Colonel Striker shot him in the head with Adamantium bullets, which he knew wouldn’t kill him but would erase his memory. Now, how did he know ahead of time that that would be the effect it would have? Second, why do that instead of lobbing a rocket-propelled grenade at him? Simple, because the story required it. Wolverine is supposed to be an amnesiac in the first movie, so this movie had to show how.

And while were on the subject, why didn’t Wolverine’s girlfriend kill Striker at the end when she had the chance? The woman had suggestive powers and had the man in her grasp, so why not tell him to march off a cliff? Again, because the story demanded it. Striker needed to live to see movie two, so instead she said some fluff about how she’d be no better than him and just told him to take a walk until his feet bled and he fell from exhaustion. I can’t speak for everyone, but personally, I was disappointed.

3. Less Is More
A lot of people insist that when it comes to back stories and background, the less we know, the better. After all, wasn’t Darth Vader scarier before we knew that he was once portrayed by Hayden Christensen? Wasn’t he a lot more menacing before he cried over the loss of Padme? I know for a fact that I’m not alone when I say that the whole “NOOOOOOO!” scene at the end of Revenge of the Sith brought him down in my eyes. What was once a titanic force of badassery was transformed into a whiney, bitchy child through the simple act of fashioning an origins story.

To use a non-prequel example, consider the Batman franchise. In the Tim Burton version, we got to see the Joker’s origin story, but in the Christopher Nolan version, we got nothing. And frankly, wasn’t Ledger’s updated take on the Joker much more scary than Nicholson’s because of it? Sure, his dialogue and acting were spot on at capturing the insanity and terror of the laughing psychotic killer, but wasn’t part of that assured by the fact that we had NO IDEA who he was or where he came from? The origins stories that he told – “wanna know how I got these scars?” – and how they kept changing was part of what made him so effective. As the audience, we wanted to know, how DID he get those scars? Why IS he so crazy? But by denying us this, I think we were kept wanting and we respected the movie more for it.

The same is true of Batman himself. In Burton’s, we got an exact reversal of what happened with the Joker. Aside from the fact that his parents were murdered, apparently by a young Jack Napier (who would go on to become the Joker), we knew nothing about him. Where he got his skills from, his equipment, and how he got started. This served to make him a much more mysterious character which in turn made him more interesting. In Burton’s Batman, he was the focal point whereas the Joker was his nemesis. But in Nolan’s updated version of The Dark Knight, the Joker was undoubtedly the focus while Batman was just the hero trying to stop him. I’d say what he knew – or in this case, didn’t know – about them was central to that.

4. The Audience’s Imagination Is The Writer’s Greatest Weapon:
I believe it was the famous photographer Duane Michals who said “I believe in the imagination. What I cannot see is infinitely more important than what I can see.” Okay, I Googled that, sue me! But the man had a point, and it applies doubly to movies since they too are a visual medium. What the readers and/or an audience can imagine based on snippets of a story is infinitely more powerful than what they can be shown with a few hundred pages of text or a two hour movie. This is why less is more. By giving the audience less to work with, they have more freedom to imagine and create. If you tell them what happened, detail for detail, then they have nothing except for what you’ve given them.

This, I think, is precisely why prequels are so often a disappointment, at least in my estimation. I’ve always considered myself to be an imaginative person. Given a blank canvas, or one with just a few details, I can create just about anything. And I’m hardly alone in that fact. Imagination is something everyone has – to varying degrees, sure – but it’s part of what makes us human and gives our lives meaning. Being able to express our inner life makes us happy, and there are few things more hurtful and insulting than having someone mock or dismiss that creativity. It’s also one of the cornerstones of a free society, the freedom to create and not be persecuted for it.

So it’s little wonder then why people are drawn to movies where books they’ve read are being adapted to film, or to prequels, where things that have been previously alluded to are acted out. People go to see them because they want to know if it will bear any resemblance to what they themselves imagined. Or, they go because they just want to see what the director’s own vision was. Either way, when you get around to seeing it for yourself, is it not a letdown no matter what? Isn’t that the real reason why people who’ve read the book constantly insist that the movie isn’t as good? That certainly seemed to be the consensus amongst LOTR geeks. And I should know; by The Two Towers, I was one of them! And isn’t that the real reason why the Star Wars prequels sucked as much as they did? We, the fans and audiences are active participants and create out of what we are given. Being told point blank what happened removes half the fun of it!

Some Tips For Writing:
Well, that’s all I got for now. Except to say that if someone is hoping to do a prequel, there are certain tips that I’ve come up with that can help. These are by no means established rules, just the result of my own amateur experience and observations. For one, a writer should take care not to give too much away when writing background. As always, less is more. It’s enough to let the background stay in the background and focus on the story. The more the reader/audience has to work with, the better. That way, when you are writing out the back story, you have much more freedom to work with, and don’t have to worry about staying within boundaries.

Second, a good idea is to write things out ahead of time. When I was thinking up Legacies, I began by writing out an outline for the entire background of the story. I didn’t do this because I was one day planning on writing a whole franchise worth of books, prequels included, but because I just wanted the story to be tight and know where everything fit. But because of that, I was able to pen several short stories that took place before the first novel. Rarely were the main characters and plot lines from that novel the focus of these stories, but they did serve as a solid backdrop which helped to advance things.

But don’t take my word on that, consider Lucas himself. He thought up the entire plot for Star Wars trilogy before making the first movie in the franchise, thus he knew exactly what he wanted to do ahead of time. Sure, he made changes and was forced to adapt along the way, but the end result benefited from this foresight. However, when it came to the prequels, he had only the bare bones to work with, and began writing each movie independently of shooting it. And it certainly showed, didn’t it? Rather than feeling like an ongoing story, each movie was a self-contained tale that was full of duty and contrivances. Nuff said? Plan ahead!

Last, but not least, remember that a story, ANY story, needs to tell its own tale. It cannot be written for the sake of filling in another. Its a bit of a vague point, I know, but a writer’s mentality is important when it comes to the creative process. At no point can you be thinking, “this needs to be explained, that needs to be explained”. It needs to be, “this is a story that needs to be told”. Every character has an interesting back story, and stories are living, organic things. They change over time, grow, and eventually die. Showing how they got to where they were going needs to be interesting and told with sincerity. So forget the duty, focus on the events and what made them interesting. If in the end its not a story that you yourself would enjoy, then don’t tell it! Simple as that…

Star Wars, Episode II: Send in the Clowns!

Yeah, that’s not the most original parody of this movie’s title, but it sums up my feelings pretty well. In my last review, I addressed the first movie in the Star Wars prequel lineup, the absurdly named The Phantom Menace. In sum, it was a movie with some signs of quality, but which suffered from a technocratic plot and a whole lot of childish content. Overall, sort of a C+. Okay, not great! In addition, I tried to tackle the two big questions that are constantly asked about the Star Wars franchise. Number one: why were the originals so enduring and influential in their time? And two: what the hell happened with the prequels? The originals were enduring classics that combined gun slinging, swashbuckling adventure with space opera and mythology. The prequels… well, they were entertaining in places. Annoying, insulting, generally inexplicable, but still entertaining.

And now, onto the second movie in the Star Wars prequel trilogy, the even more absurdly named Attack of the Clones! As you can tell from the title of this posting, I did NOT like this movie; and in that, I am hardly alone. According to critics and fans alike, it was even worse than the first – a complete 180 of what happened with the first trilogy where the sequel outstripped the original. And the reasons were obvious: For the most part, Phantom Menace was an critical flop because it was simultaneously kiddy, technocratic and suffered from an obvious sense of duty. The second movie suffered from the same ailment, but added some new elements that brought it down even further. But I could not hope to address them all in one paragraph so let me break it down succinctly. As C3P0 would say (in the originals!) “Here we go again…”

Star Wars, Episode II: Attack of the Clones
As I’m sure I mentioned in the previous post, Lucas spoke of what this movie would be about long before it aired… to the disappointment of fans everywhere. Whereas most of us were hoping that the second movie would depart from the childish tone struck by the first, Lucas dashed all that by saying it would be a love story and aimed squarely at kids. And of course, it would explain how the “Clone Wars” happened. On top of that, he had to give the audience some preview of Anakin’s fall to the Dark Side. A tall order, to be sure, but Lucas managed to mangle it pretty good! Here’s what went wrong:

Forced Chemistry: Lucas is known for writing dialogue that nobody can say, but in this movie, he really outdid himself! Those “romantic” scenes between Christensen and Portman, they’re PAINFUL! Not only does nobody speak like that, Portman and Christensen manage to go through these scenes without exhibiting the slightest trace of romantic chemistry! In fact, we’re given every indication to suggest that what’s really going on is a case of creepy stalker syndrome! Remember that back and forth from early on in the movie, “Please don’t look at me like that,” says Portman. “Why not?” asks Christensen. “It makes me uncomfortable.” Sound like love? Nope! As if that wasn’t bad enough, there’s the part where Anakin says he’s been dreaming about her for ten years straight, and that just being around her again is “intoxicating”. Ick! Can you say “obsessive”? And last, there’s the part where she totally disses him in front of people on Naboo. “Anakin is just a padawan,” she says. He objects to this sluff off, but she totally puts him in his place. Clear enough? She don’t like ya, kid. Move on or face a restraining order! And yet, we’re supposed to believe these two somehow fall in love a few scenes later? The only reason we’re supposed to believe it is because we already know it happens! Otherwise, it is wholly unbelievable and totally cringe-worthy!

Forced Rivalry: Oh, and let’s not forget the totally forced animosity that exists between Anakin and Obi Wan. It’s obvious from the way Anakin back-talks him and complains about him behind his back that he’s got some animosity for the man. It’s already predictable due to the fact that we know in advance that Anakin will turn bad and betray him, but it doesn’t help that the dialogue and the delivery feel totally fake and wooden. And lets not forget how insistent Lucas was with the whole odd couple dynamic! In fact, the back and forth between Anakin and Obi Wan and their complaints about each other are so overdone that Obi Wan just comes off as a nagging shrew and Anakin as a total bitch! Yes, we know what’s going to happen and its necessary to preview how, but Jesus-Allah-Buddah, a little subtlety please!

Infodumping: Which brings me to my next point. Lucas, you can’t have your characters just announce their feelings! It’s unsubtle, insulting to the audience, and drives home the whole dutiful nature of these awful movies even more! From the very outset, we learn that Anakin is in love with Padme/Amidala. Why? Because he says so. We learn shortly thereafter that Anakin resents Obi Wan. Why? Because he says so. We learn that Anakin is arrogant on a count of his abilities? Why? Obi Wan says so! On and on this goes throughout the movie. Lucas seems to think that the best way to establish something is to have his characters announce it openly, as opposed to say establishing it slowly through bits of dialogue and acting! And of course, its all because he feels obliged to cover his bases and explain how everything happened. This is why I hate prequels, you know.

Hayden Christensen: To be fair, the boy was up against it dealing with Lucas’ awful script writing, but that didn’t prevent him from being the most whiny, annoying bitch I’ve ever seen on camera. Seriously, even Shia LaBeouf was less annoying by comparison, and that was with Michael Bay writing his lines! And this is the guy who’s supposed to turn into Darth Vader? I would think that a war hero who got tempted by evil and became the universe’s most notorious bad-ass would be… oh, I don’t know, like Gary Cooper. The strong silent type! Not some whiny little kid who does nothing but lament about unrequited love and bitch about how he’s not being treated like an adult by his master. Exposition ruined what should have been the perfect character!

Jump-around Plot: Ostensibly, this movie was supposed to be about the Clone Wars. But on top of that, Anakin and Padme are supposed to fall in love, and then there’s the added duty of previewing Anakin’s fall to the dark side. As a result, we get a whole first hour in which the main characters are just running around like chickens with their heads cut off. Anakin brings Padme to Naboo to protect her (her home planet? Really? An assassin wouldn’t think to look for her there?), and the scenery works its magic and they fall in love. But then, Anakin has to rush off to Tatooine, totally unrelated to the plot, to find his mother. Once there, he finds out she’s been taken by sand people and she dies as soon as he finds her. Anakin responds by wiping out the whole village of sand-people, and somehow, nobody seems to care. That little act of genocide is forgotten as they have to rush back into the fray to rescue Obi Wan because he’s been taken prisoner. The only one who appears to be sticking to the plan is Obi Wan, who was busy at work the whole time investigating the clone plot. On its own, that part wasn’t bad, but its so diluted by the other crap that you almost don’t notice it. In fact, were it not for all the other crap, we might have actually gotten into the war!

Genocide? No biggie!: Speaking of the massacre Anakin committed, I’m sure everyone noticed how little the other characters seemed to care about that. Yoda senses the massacre through the Force, but it never comes up again. Even worse, Padme seems totally unphased when he tells her that he slaughtered women and children. She even goes as far as to say “To be angry is to be human.” WHAAAAAT? The boy wipes out an entire village of people, women and children included, and the best you can say is “no biggie?” What kind of person are you?! Equally odd, when Anakin returns to the Jedi, no one so much as mentions it. Yoda knew something was up, but its like he either forgot or stopped caring. Little wonder why this kid turned evil, he’s got no boundaries!

More Re-Used Characters: Like I said about the first movie, Lucas seemed to think that he had to introduce ALL the characters from the first movie, even if he was hard-pressed to do so. In this movie, we get the back-story of Boba Fett, who as it turns out, is a clone! Yes, the bad-ass bounty hunter extraordinaire from the first trilogy is actually the clone of a bounty hunter named JANGO Fett. That seemed kinda forced, but the introduction of Owen and Beru, who are apparently Anakin’s step-brother and step-sister-in-law? That was just plain stupid! Did he expect the audience to go “ah-hah!” every time he did that? Honestly, I think people just rolled their eyes and sighed whenever it happened.

Final Fight Scene: One thing that always seems to redeem Lucas’ movies is the action scenes. That awesome fight scene from the first one was enough to justify admission, but this time around, Lucas screwed the pooch on that one too! The big scene at the end, which apparently was inspired by Roman-style executions in the Coliseum, was not too bad, but it was long and drawn out. And holy hell, the fight scene that ensues between Dooku, Anakin, Obi Wan, and then Yoda? It was totally unrealistic, and punctuated by some of the worst dialogue ever! First, he takes down Anakin by hurling him into a wall just so he can fight Obi Wan one on one. Then he manages to defeat Obi Wan without inflicting any real harm, mainly so he and Anakin can go at it mono a mono. After he takes off Anakin’s arm, fulfilling yet another plot element, him and Yoda go at it. “I can see we are not going to resolve this with our knowledge of the force, but our skills with a lightsaber.” Do I even need to say it? Nobody talks like that! Yeah, the fight scene is entertaining, sure, but otherwise nothing but theatrics and zero substance!

Clueless Jedi: In the first movie, the Jedi seemed just a little slow on the uptake. I mean I know I have the benefit of knowing exactly who the bad guy is, but between the first and second movie, a full ten years have passed! You’d think they’d have done some digging and learned a thing or two about who Darth Maul was and who he might have been taking his orders from. And this time around, they’re even more clueless. And it seems almost necessary in order to explain how Palpatine could have seized power without the Jedi getting wise to him. I admit, that was a tough thing to tackle. But Yoda’s explanation, how the “dark side clouds everything. Impossible to see the future is,” etc etc, falls pretty flat. Apparently, the Jedi’s have a diminished capacity to use the Force now, and rather than tell anyone, they keep it hush hush because Yoda doesn’t want their enemies getting any ideas. Pretty contrived explanations, man! A simple line of dialogue, like how Palpatine has mastered a technique that allows him to mask his presence in the Force, that might’ve worked. It might even make sense in the context of how, at times, Yoda and the others get suspicious of him. He can mask his dark Force energies from detection, but once in awhile, something slips through. Oy! I feel so geeky!

And that about covers this bad-boy. Overall, it was pretty bad, pretty rushed, pretty forced, and suffered from a sense of duty even more than the first. It was not enough that it had to explain major plot elements, it also had to forecast a number of developments that the audience knew would happen later on. And that was its downfall. When it comes to prequels, the potential for excitement comes in the form of developing things that have been hinted at, but for which the audience is seriously short on the details. In this case, the Clone Wars. Only once did it come up in the first trilogy, when Luke spoke to Obi Wan about what his father did. And several passing mentions were made in other areas of the franchise, including comics, novels and video games. But always, the details were in
short supply because the master (George) never left any notes.

So really, that’s what this movie needed to do but failed to deliver on. Explain the war, get into it, and sure, throw in some stuff cataloging Palpatine’s rise to power. That’s it! Instead, we get a whole lot of set-up designed to explain how the war is GOING to happen, an awful romance story, a rushed and forced prelude of Anakin’s fall, and a quick scene showing how Palpatine used the war crisis to become a tyrant. This last part felt like a technocratic holdover from the first movie – Parliamentary procedure leading to the emergence of dictatorship, yadda yadda. But the point is, we missed out on all the real action when that’s all the fans really wanted in the first place! In fact, the final scene where Clone Troopers are boarding their vessels and going off to war is the closest we get to seeing the war at all in this movie. Sure, the big battle on Geonosis kinda counted as part of the war, but it was really more of a prelude, not the actual thing! And with a name like “Attack of the Clones”, you’d think we’d see more, you know, attacking! Instead, the war is something that happened between movies, to be covered later by another producer (Genndy Tartakovsky) and then commandeered by Lucas when he realized it was profitable. But more on that later! Up next, the salvageable finale to the Star Wars prequel trilogy, Revenge of the Sith!

Star Wars Episode II: Attack of the Clones
Entertainment Value: 6/10
Plot: 2/10
Direction: 7/10
Total: 5/10

The Star Wars Prequels…

If only I get my hands on a big, rolling intro the way Lucas did! Man, would THAT come in handy here! Weren’t they just so great? I can remember watching them as a kid, pre-teen, post-teen, and young adult. Those inros and the music that preceded them, they always had a way of getting me into the mood for another Star Wars movie marathon. And weren’t they just the thing for a movie party? Yes, the Star Wars franchise was a masterpiece of pop-culture gold, something we who saw it when we were children could still enjoy years later. Hell, people of my parents generation found them equally appealing, both when they first hit theaters and years after their release. During the 80’s and early 90’s, there was scarcely anyone who wasn’t affected by the Star Wars phenomena. And today, those who haven’t seen the originals tend to get funny looks when they make that admission. I myself have been known to say “Didn’t you grow up in this country” whenever someone admitted it to me!

Sounds a little crass when I hear myself say it now, but you have to admit, I had a point! In fact, Star Wars has been so influential that pop culture experts, cultural historians and media gurus have been pouring over it for decades, trying to ascertain exactly why this ought to be. I mean think about it: a franchise that had a limited budget, an inexperienced director, weak writing/dialogue, newby actors and actresses (with the exception of Sir Alec Guinness), and production problems from day one somehow became a rip-roaring success at the box office and spawned two sequels that did even better. In fact, Star Wars: The Empire Strikes Back was one of those rare sequels that was considered better than the first, right up there with the Godfather Part II, Mad Max, and T2.

Now why is that? Why is the Star Wars franchise so enduringly influential and popular? There is no single answer, but the general consensus seems to be that they were just good at capturing a certain Zeitgeist. In addition to its accessible theme of the hero’s journey and the idealist fighters battling against an evil empire, there was also the classical themes of The Fall, the Redemption, dynastic struggle between father and son, the ties that bind, the hero’s fate, and countless elements borrowed from other popular genres, such as gun-slinging spaghetti westerns and swashbuckling samurai movies. All this came together to create something that some thought was brilliant, others thought was a guilty pleasure. But that all could agree, it worked! People liked it and wanted more!

So it begs the question, how and where did things go wrong? I’ve say how and where at the expense of why because I feel that one is obvious: right around the summer of 1999, when Star Wars Episode 1: The Phantom Menace was released. That’s pretty much when things went wrong! From then on, things got steadily worse, with an even-worse sequel and a salvageable third. Fans of the franchise were left sore and dumbfounded, having spent their money to see them, but generally feeling betrayed and confused. From a critical and a popular standpoint, the Star Wars prequels did not hold a candle to the originals, leaving many people to wonder what could have happened.

Star Wars Episode I: The Phantom Menace
Naturally, when it was announced that prequels were coming out – movies that would cover the Clone Wars, show the origins of the Empire, and the fall of Anakin Skywalker/rise of Darth Vader – fans were excited. I know I was! Like most men my age, I had grown up on the franchise and lived in a world saturated by Star Wars toys, books, magazines, lunchboxes, figurines, and even novels. So it goes without saying that I wanted to see how Lucas would fill in the back-story. But like most fans, I left the movie theater a little daunted. It was only a few minutes in when I first came to realize who the target audience was, and like most people my age, I wasn’t too happy about it. Sure, the lightsaber fight scene and podrace were both worth the price of admission, but something needed to be done about the rest of it. There were just too many weaknesses that were glaringly obvious. Let me see if I can break them down succinctly:

Weak Plot: It’s a rare thing when a movie can be both technocratic and childish at the same time, but this movie pulled it off! First, we have a plot where the “greedy Trade Federation” is blockading a planet because they’re unhappy about taxes. And we get a big earful about how the Republic is deadlocked and ineffective due to the stumbling blocks of parliamentary procedure. Really? This is how the big, huge saga begins? I know were supposed to be getting a preview of how the Republic became a tyranny due to corruption and inefficiency, but it could have been done in a way that wasn’t so heavy-handed and dull. In fact, nothing about this plot seems realistic or even interesting. A great big civil war and slide into despotism began with taxes on trade routes??? Let’s not forget how the Trade Federation has all these ships and battle droids. When was the last time a Merchant Marine was ever allowed to do that, stockpile weapons and blockade planets? Who the hell is running the Republic that this sort of thing was allowed to take place? And if they really wanted to stir things up, why blockade some backwater place like Naboo (kiddy name if ever I heard one!)? Why not a hub, like Coruscant or Alderaan or something like that? Oh, and Palpatine, the evil Sith Master who will overthrow the Republic and become Emperor, he’s actually FROM there? I’d think a master of the dark side would be better suited coming from somewhere a little less remote, don’t you? I know, I know! Sarah Palin wasn’t exactly from a major hub either. But she’s aint President… yet (gulp!)

Racial Caricatures: Let’s not forget the borderline racist junk that made it into this movie. First, the “greedy” Trade Federation representatives, whom Qui Gon Jinn referred to as “cowards”, clearly a bunch of Japanese businessmen. Why is the Trade Federation run by this one race, for that matter? Aren’t they supposed to be like a guild or something? The fact that they all look and sound the same only deepens this racist impression. Then there’s Jar Jar, a creature so annoying he made most of us want to hurl a whiskey bottle at the screen! He has big flappy ears, is clumsy as hell, has a ridiculous accent and speaks pinyin. Put on a big fro and you got Buckwheat, racist without the folksy! Next, there’s Watto, who might as well be called Shylock for all the obviousness of his character. One, he’s greedy and cares only about money; two, he wears a yamaka-type headpiece; and three, he’s an obvious scam artist. So in essence, Lucas caricatured Black people, Asians and Jews in one fell swoop with this movie. I know he likes to draw parallels to the past, but Victorian-era bigotry is not something any smart man should want to associate with.

Virgin Birth: The original Star Wars movies made obvious use of Judea-Christian mythology, but this movie went above and beyond. Having Anakin be the result of an immaculate conception, where the Force (or midi-chlorians as they call them in this movie) willed him into being, was just plain pushing it! I mean, I know Anakin was supposed to be special, but this whole “Chosen One” thing was too much. The fact that there was a prophecy associated with his existence had potential, and I kind of liked where they went with it in later movies, but in this particular one, it made me want to gag.

Midi-Chlorians: Didn’t you just know I was going to bring them up next? Yes, as someone who grew up with The Force, I can tell you that one of its greatest selling points was its mystery. The way Obi Wan explained it to Luke, the Force sounded very much like an allegory for destiny, history, or the unfolding of a divine plan. No one quite understood it, no one knew with any certainty what course it would take. But in the end it seemed to unfold in such a way that balance was restored and those who tried to control it ended up being screwed. What better allegory is there for Karma, the Divine, or universal justice? You can’t get more mythological and Judea-Christian than that! And how and why some people are more sensitive to it than others was something that was also a mystery. So you can imagine how it might seem disappointing or dumb when Lucas decided to reduce it to microscopic bacteria that exist in your bloodstream! Why not just say there’s a F gene or something? With one stroke of the pen, we went from deep mythology to pulp sci-fi!

Re-use of Characters: Prequels are supposed to use many of the same characters, but that doesn’t mean that EVERY SINGLE ONE needs to be accounted for, or that they have to be part of the same plot. For starters, Anakin build C3PO? And R2D2 knew him as a kid? What they didn’t have other service droids in the past, you gotta re-use the same ones for over thirty years? And if so, why the hell didn’t this come up in the originals? Sure, Lucas did a last minute explanation for that in the third movie, but that didn’t change the fact that this was just weak. And it happened again and again in the second and third movie, as if Lucas was getting a bonus every time he managed to write a character from the original movies into the new ones. You know, the universe is a big place. People’s paths may cross, but not all the freaking time!

Forget your mom, kid: One of the things I heard people complain about a lot with this movie was the way Anakin was being pressured to cut all ties to his mother. In essence, he’s pulled away from her, told that his fear of losing her is a bad thing, and how this could lead him to the dark side. “Fear leads to anger. Anger leads to hate. Hate leads to suffering…” as Yoda put it. So what then? He’s just supposed to turn his back on her and become an emotional ascetic? He’s freaking ten! And with lessons as pedantic and cold as this one, its no wonder the boy turned to the dark side! And really, one can draw a straight line like that through anything! Watch! “Fun leads to enjoyment. Enjoyment leads to fondness. Fondness leads to obsession. Obsession leads to destruction. Destruction leads to suffering…” Or how about discipline? Jedis love discipline. Watch me connect to it the dark side! “Discipline leads to perfection. Perfection leads to arrogance. Arrogance leads to foolishness. Foolishness leads to error. Error leads to anger…” and so on. See? Not hard! It’s like playing “Six degrees of Dark Side”. And the prequels are full of this kind of needlessly harsh reasoning, stuff you’d never expect to hear out of a Jedi. I mean, I know they’re supposed to be disciplined, but isn’t compassion also supposed to be their thing? More on that later…

The Kid: As if Jar Jar wasn’t annoying enough, we got to suffer through all the bad one-liners and atrocious acting of that kid who played Anakin. Another obvious ploy to court the kiddy vote, as was all the podracing and dog-fighting he did, stuff no ten year old would ever do! The former was bad enough, but did Lucas really have to include that horrid dogfight scene at the end where he basically saved the day through sheer luck? I already checked my brain at the door, but I still felt my intelligence being insulted with that scene! Speaking of which, where is that kid now? I don’t recall seeing him in anything after this movie came out. But given the sheer exploitation, odds are good he either turned to drugs or became a petty criminal in order to channel his outrage of being in such a film! Hell, if I were him I’d be suing the bastard for raping my youth!

Okay, so it was a bad movie. However, I remember being soothed by rumors that this first installment was just a first salvo that was meant to get the kids hooked and that the later movies would be aimed more at the adults. Lucas was even rumored to have reported that his second installment would be darker, and since the subject matter was supposed to be how the Clone Wars began, I figured it had to be true. Lord knew, we who were now adults, who had grown up enjoying Star Wars as kids, expecting something from the man. But I learned a lesson from all this, check your sources, and don’t expect nothing from men like Lucas! Sometimes, the fan community makes up stories and puts them in place of real fact. And Lucas, it seemed, had no intention from deviating from the course he set. In fact, he even went on the record as saying that Star Wars was always meant to be a “Saturday Morning serial for kids”. Translation: screw you grown-up fans! I don’t need you anymore!

And it was about that time that I discovered why Lucas was going down this road in the first place. Contrary to what some people had said, he had not gone crazy, or mad with power. In truth, Lucas was never a very good writer or director. The only difference now was that he seemed to think he had overcome these limitations. A few years into the release of the prequels, critics had formed a chorus that could be heard chanting the seminal words of Harrison Ford: “George, you can type this shit, but you sure as hell can’t say it!” These words, which were just a heartfelt complaint at the time, have come to be synonymous with everything Lucas did wrong. Apparently, when he was making the first Star Wars, he had a lot of trouble adapting his script to the screen. More than one cast member, aside from Ford, had asked themselves “Who talks like this?” when reading it. But, knowing his limits at the time, Lucas sought the help of others during the making A New Hope and had full-time writing and directorial assistance when making Empire and Return of the Jedi. But after years of success and adulation, Lucas appeared to think that he knew best and didn’t require any help from anyone anymore. In fact, it was rumored that he now did all his writing on the Skywalker Ranch, surrounded by sycophants and yes-men who told him what he wanted to hear and kept the negative reviews from his ears. It was not until the second installment got panned that he seemed to sit up and take notice. But more on that in my next installment…

Star Wars Episode I: The Phantom Menace
Entertainment Value: 7/10
Plot: 6/10
Direction: 7/10
Total: 6.5/10