Favorite Moments: ‘Titanic SUPER 3D’

We all have our favorite moments in movies, books, and games, moments that stay with us long after the story is over. This column is my attempt to examine my favorite moments and see why they stick with me.

***

The video:

Why it’s great:

While it’s always fun to imagine crossovers with our favorite stories and characters, one crossover that’s rarer is to imagine a writer or director doing a famous film or book and adding their own unique touches to it, such as:

What if George Lucas directed ‘Gone with the Wind’?

What if Steven Spielberg directed ‘Robot Monster’?

What if Michael Bay directed a Teletubbies movie?

Thanks to this hilarious video by PistolShrimps on Youtube, we get a glimpse of what might have happened if JJ Abrams, Mr. Lucas and Mr. Bay directed 1997’s ‘Titanic’. The result: there’d be a heck of a lot more digital effects, lens flares, and explosions (oh gosh, that chair).

Favorite Moments: IT + The Lord of the Rings

We all have our favorite moments in movies, books, and games, moments that stay with us long after the story is over. This column is my attempt to examine my favorite moments and see why they stick with me.

***

The video:

Why it’s great:

Today’s video is a great example of fans taking two unrelated franchises and combining them to create something new and fascinating. In this case, combining the Lord of the Rings trilogy with the 2017 adaptation of Stephen King’s ‘It’ to create a version of Middle Earth where the greatest threat isn’t an evil ring, but an evil clown.

While it’s amusing to see Gandalf getting creeped out at seeing Pennywise, or Frodo shaking as a bloody balloon floats his way, what’s great about this crossover is how it stimulates the imagination into thinking how Middle-Earth would react to the presence of such an evil, shape-shifting entity from Earth. Would Gandalf be able to deafeat him? What would Pennywise do if he got the Ring? What would happen if he and Sauron got into a fight?

The best fiction, in my opinion, invites our imaginations to play around with wondering what might happen beyond the pages or the screen. We only get a few snippets of Pennywise interacting with the Fellowship and the denzins of Middle-Earth here, but it’s fun to wonder what might happen if he met other characters or went to places not shown in the video, and a reminder that writers don’t have to show or explain everything: Leaving some blank spots for our readers to fill in for themselves lets them conjure exciting scenarios and ideas beyond what we could ever hope to put on the page or on the screen.

What we can learn from my favorite videogame commercial

In tales, myths, and legends told throughout the centuries, one constant rule is that the characters in our stories are unaware that they’re fictional. It’s only been in the past few decades that writers have played with this idea by occasionally having these characters realize that they’re characters in a book, a movie, or a video game, existing only to give pleasure and enjoyment to their observers. Naturally, it’s logical for these characters don’t react well then they realize that they don’t exist beyond the confines of the medium they’re in, that they’re little more than playthings of the author. And who can blame them? If I found out I was a background character in a sitcom, I’d probably go crazy, too.

But what we rarely see is when the fourth wall is broken is characters who are okay with their situation. Even rarer is the work where the characters are grateful to their author, player, or audience, which is shown so beautifully in the Sony PS3 ad, ‘Long Live Play’:

When doing a fourth-wall breaking story, consider having your characters be grateful to their creator/audience.

‘Long Live Play’, my favorite video game commercial of all time, is perhaps the best example I’ve found of fictional characters being grateful to their audience. Aside from the coolness of seeing numerous characters from different video game franchises coming together (and just hanging out instead of fighting), it runs with the idea of the player (in this instance, Michael) being a sort of god who helps all of them accomplish great things, which they wouldn’t have been able to do otherwise, ending with all of them cheering Michael’s name in gratitude for everything he’s done for them.

For writers, ‘Long Live Play’ shows that when the fourth wall is broken, it can lead to fascinating story concepts. We aren’t confined to tales of fictional characters fighting off suicidal depression at realizing that they’re not real, or raging against all the hardships and sufferings they’ve been forced to go through; why not try a story where those characters look at their creator, audience, or player with gratitude and reverence for all the good things they’ve been given? Even better, explore how would self-aware fictional characters interact with their creator? Do they try to have a face-to-face meeting with him/her/it? Do they start a religion? Do they ask for certain things to happen to them, in hopes that the author will grant them that request?

Breaking the fourth wall can be a good source of comedy and tragedy, but it also gives the author a chance to explore what it means to be a god, and the relationship that god has between themselves and their creations. And in doing so, it also invites the reader to rethink our relationships with our favorite characters from books, films, comics, and games. How would they react if they learned about you, or the reasons why you enjoy following them? Such questions invites us to expand our thinking and see fictional characters in a whole new way. And while it was meant in the context of videogames, consider what Youtube user Tia Shok said:

“This was the commercial who showed us that game companies can give characters souls, but it’s the players who give them heart and morality and nobility. Players can make characters into heroes. Thank Sony for understanding the power gamers give their characters.”

Favorite Moments: Enya’s Space Jam

We all have our favorite moments in movies, books, and games, moments that stay with us long after the story is over. This column is my attempt to examine my favorite moments and see why they stick with me.

***

Today’s post doesn’t cover a favorite literary, film, or videogame moment, but a musical one: After I discovered the magical world of Space Jam remixes, I’ve been on a quest to find the best, most catchy, most implausable mashups I can. I’ve found many, but this one, which combines outer space basketball with my favorite musician, has quickly become a favorite. Enjoy!

Favorite Moments: ‘My Slam Will Jam On’

We all have our favorite moments in movies, books, and games, moments that stay with us long after the story is over. This column is my attempt to examine my favorite moments and see why they stick with me.

***

The video

Why It’s Great

The 90’s were a magical time for cinema. From that era, we got such classics as ‘Terminator 2: Judgement Day,’ ‘Jurassic Park,’ ‘The Matrix,’ ‘Toy Story,’ and the juggernaut that was ‘Titanic’… and then we got ‘Space Jam’, which features Michael Jordon teaming up with the Loony Tunes to save them from being kidnapped by aliens by playing basketball.

Uhh… Yeah.

However, from this unlikely tale came a title song that has gone on to become a low-key, but steady internet legend, a song that can be mixed with anything. I myself only recently became aware of its existence, through one of the most unexpected mashups I’ve ever heard. It shouldn’t work; there’s no logical way a song about outer space basketball and doomed teenage romance on a sinking ship should work… but, incredibly, it does. I have no idea why, but… gosh dangit, this is one catchy song, and it is my sacred duty to expose it to as many people as possible so they, too, can weep at its glory.

What we can learn from ‘Sarah Conner vs. Jason Vorhees’

Ever since his first appearance as a masked killer in the 1981 film ‘Friday the 13th Part 2,’ Jason Vorhees has become the poster child for slashers who take out horny teenagers as brutally (and creatively) as possible. Being such a staple of pop culture, it was inevitable that he’d eventually face off against other pop icons, the most famous being a fight against Freddy Kruger in 2003’s ‘Freddy vs Jason.’ But many of these fights have taken place in fan videos, featuring Michael Myers, Pennywise the Clown, Leatherface, and even Barney the Dinosaur. Today, we’re taking a look at what would happen if Jason Vorhees took on one of the toughest women in cinema: Sarah Conner from ‘Terminator 2: Judgement Day,’ courtesy of Youtube creators WTFLOL

Having a plausible explanation as to why two characters are fighting makes it easier to accept such a fight

When most pop culture characters fight, plot usually comes second to seeing them duking it out. But having a strong reason why two different characters from two different universes are fighting each other makes said fights easier to accept. ‘Conner vs. Jason’ has a particularly good one: Sarah, while en-route to foil Cyberdyne yet again, has car trouble and breaks down near Camp Crystal Lake. While searching for help, she comes across helpless campers being slaughtered by Jason, and rushes in to help. Not only is this a plausible way for the two to meet up, but it also helps us root for Sarah by showing how she doesn’t hesitate to help others in trouble, even if she doesn’t know them.

In our own stories, it’s a good idea to set up the fight in a way that feels logical. While it’s tempting to throw your two (or more) duelists together as quickly as possible, setting up why they’re fighting will make your story more believable, and tell your audience that you’ve thought this out beyond the standard, ‘Hey, wouldn’t it be awesome if ______ and ______ fought each other!?”

Consider limiting how much of your intercontinuity fight doesn’t revolve around the title characters fighting

Perhaps more than any other type of story, your audience knows exactly what they want when they see a duel film (watching the title characters fighting each other). They won’t be interested in anything else that doesn’t lead up or add to those moments. Thankfully, ‘Conner vs. Jason’ smartly limits those scenes to Sarah going to Crystal Lake, and the camp’s campers being killed off by Jason in quick order, knowing that audiences don’t have any interest in the campers being developed when they’re only going to be killed off.

In our own stories, while some buildup and setting the scene is always necessary, cutting out everything that isn’t necessary to set things up, or that doesn’t relate directly to two famous characters fighting is a good idea; our audience will thank us for getting to what they came to see in a quick and timely manner.

Consider having the nerd help save the day

Pity the poor nerd: this unfortunate character continues to be relentlessly mocked in pop culture, portrayed as being wimps, cowards, and having zero social skills. Yet, don’t underestimate them: while the nerd in ‘Conner vs. Jason’ first comes off as the stereotypical game-obsessed dweeb, he quickly comes through by using his smarts to tell Sarah about Jason’s only weakness, and risks his own life to lure Jason towards said weakness at great risk to himself (and saving Sarah in the process).

While it’s easy to use the nerd as an easy source of humor and comic relief, it’s much better to have them have hidden depths: Nerds may have a love of all things video games, movies, anime, and cartoons, but they’re still people with weaknesses and strengths, and showing those, whether it’s bravery, strength, or resourcefulness will help make them memorable.

Consider poking fun at a character’s mythology in your crossover fight

Little moments of humor can often be the most memorable parts of any story, and in a crossover fight – where drama and strict adherence to the rules of either universe are put aside for the sake of awesomeness – poking fun at both story’s mythologies can make funny moments even funnier: my favorite here comes when the nerd loudly yells about smoking and having lots of premarital sex with naked women, causing Jason to immediately ignore Sarah and head after the nerd. Another has the Terminator, after blowing Jason to pieces, saying his classic trademark about how he’ll be back. Is it cheesy? Yes, but it’s funny, and a good reminder on that we watch these crossovers to see how awesome they are; having some humor – even if it’s slightly out of character – only makes a fun experience even more enjoyable.

Avoid having someone come in and steal a victory at the end of a crossover fight

While having the Terminator suddenly show up to save the day at the end of the video is undeniably awesome (The Terminator vs Jason? Heck yeah!), it does have the unfortunate effect of making the whole ‘Sarah vs. Jason’ fight somewhat pointless, as neither of them determine the outcome. While it’s common for crossover fights to end in a draw (so as to not offend fans of either character by having them be defeated), having neither side winning, or having both off each other, having a third party arrive and end the fight by themselves feels like a cop out. Even Freddy vs Jason made this error by having one of the teens decapitate Freddy at the climax of the big fight, instead of Jason.

When writing our own crossover fights, having them end because of the results of the fighter’s efforts – instead of an outside force – will avoid the feeling of the fighters and the audience being cheated out of a fair match. If you must bring in a third party, foreshadow it before the fight, or at the very beginning (such as how Sarah Conner helps Pops during the Terminator vs Terminator duel in ‘Terminator: Genysis’), but still avoid it if you can.

An Alternate Universe version of ‘Sarah Conner vs. Jason Vorhees’ that learned from its mistakes

While en-route to take out a subdivision of Cyberdyne, Sarah Conner’s car breaks down outside Camp Crystal Lake. Setting out to search for help, she hears helpless campers being slaughtered and runs to help. While she’s too late to save everyone, she does save one nerd from Jason. The two quickly hatch a plan to lure Jason to the camp’s lake, eventually managing to get them there, thanks to the nerd’s smarts, and Sarah’s combat skills.

However, when trying to knock Jason into the water, Sarah – injured from her fight – runs out of ammo for her weapons. Using herself as a battering ram, she tackles Jason, managing to shove him into the water.

The nerd anxiously tries to decide whether he should jump in after Sarah to save her. Then she appears: Injured and bleeding badly, but alive. With Jason defeated and trapped at the bottom of the lake, the nerd helps her back to the camp’s main building to patch her up and call for help. Along the way, he asks if she’s interested in a date, to which she replies that he’d better not hold his breath.