If they were to tell stories like they teach in public schools, the message would be: humanity is an accident, we aren’t going anywhere, if we do it doesn’t matter, and you’re all going to die someday. Also you’re monkey spawn.
That’s not inspiring. /2
The atheists of the Carl Sagan variety needed something transcendental, a story that affords mankind dignity, a future, something to live and die for.
“We are stardust, and we’re going to meet God (as long as he’s not Christian)” was the message they settled on. /3
This satisfies the higher instincts of artists while also allowing people to yearn “the correct way” that avoids the annoying moralizing of Christianity. It’s safe religion. It’s the magic of God without all the crummy stuff that comes with it. They had a good racket going on. /5
Problem is that it’s fake and hollow. It was getting tired in the early 2010s and it’s collapsing in the 2020s. Safe kooky space religion isn’t cut out for the modern world. Each passing day looks more and more like a Hell scene out of Event Horizon. /6
Modern Sci-Fi, if it is to be meaningful at all, can’t handwave towards vague allusions of higher meaning. It has to plunge its hands in the mud and be courageous to provide hard answers. Rationalism and Kumbaya aren’t guiding principles in a world where the gate is open. /end
Damn it. I missed the /4
If you liked this thread, I have a sci-fi audio show exploring these themes. It’s called The Last Human. The first two seasons are out, and it’s available on Apple Podcasts, Spotify, and YouTube. Link below!
I 100% disagree. Avatar 3 was the most vivacious movie of the trilogy. It’s 3 hours of James Cameron losing the plot.
The aesthetics and symbolism that made the first Avatar movie a propaganda film are unraveling. The poor reception means even the Left are now against him. /1
This franchise could never handle the introduction of evil Na’vi. It completely shatters the oppressed people metaphor. Now the Na’vi do not work as a stand-in for Leftist marginalized groups. The whole point was that the Na’vi were hollow skin suits to hate “the bad people”. /2
Meanwhile even the “Good Na’vi” are so full of contradictions and confused messaging that they’ve destroyed audience sympathy.
There’s no way for humans to be on their side without getting f*****. Spider does everything right, and he’s nearly murdered by his own father. /3
The fantasy genre is full of authors trying to do Tolkien but bigger—more complex lore, nuanced morality, bigger cast of characters, etc. etc. They copy the shallow aspects while losing all the vision.
The lesson for authors is you will never beat Tolkien at his own game. /1
The next “Tolkien” will be doing something so radically different than LoTR that the comparison would seem absurd on its face. We’ve already seen the results of trying to have the “biggest” story. It leads nowhere.
Art needs clarity of purpose—which lends itself to brevity. /2
When you know *what* you are trying to write, that also entails knowing everything you need to cut. And since you are trimming the fat, that allows for real scope as there are no filler chapters or wastes of time. The whole narrative is the substance. /3
The issue with AI is not that it’s high-quality content. The problem is that it’s mass produced medium-grade content. Assembly line to the hand-craftsman.
In other words, it’s never been more difficult for up and coming indies to win the attention economy. /1
Hypothetically, you’re an average artist wanting to go pro. There used to be a ramp of steady improvement being rewarded with more attention—success. That ramp is now a crater. The hobbyist has to already be pro (or have institutional backing) to not drown in the digital sea. /2
If your art is passable but subpar, you’re less than disposable. If your art is average, you will never compete. If your art is above average, you’re treading water.
And this extends to the forms of art, which optimizes for visual/audio over text. /3
First, everyone and their mother has a f****** magic system. I’m so sick of it. No one ever asks *why* they want magic in their settings. They just want the slickest video game mechanics so their characters can be cool. I can’t tell you how many outlines I’ve been sent…
/2
Describing endless amounts of lore. It’s criminal. People run me by TTRPG campaigns thinking they are writing a book. I’m talking about essays describing a setting and not a *story*. Ideally, your world building should be the last thing you do. /3
Okay, so as the alien discourse has been flooding for my feed for the past few days, I am going to do what no scientist (or sci-fi author) has been able to do, and prove conclusively that aliens positively exist.
And also why Christians shouldn’t care.
Thread below. /1
BEHOLD, AN ALIEN.
Before you click away, this isn’t bait. The interesting thing about the alien discourse is that it’s taken on a religious dimension, so much so that this question has captured imaginations for centuries.
But why? We’ve known forever that we aren’t alone. /2
You can accuse me of copping out, but am I really? How does a Golden Retriever not fit the definition of an alien? Think about it. What quality defines a *true* alien?
But Arthur C. Clarke’s quote loses so much poignancy if I throw a puppy in his face! /3
40k impressions and 1.1k likes? F*** it. I'll do an analysis of Eragon. One major caveat I want to get out of the way is that I'm aware of Paolini's extraordinarily young age when writing these books, and none of my critique is meant to reflect badly on the artist. /1
In fact, I would say assembling a fantasy series of this length and coherency is a downright achievement, regardless of anyone's gripes. Now that that's out of the way, the most interesting thing I find about the Eragon series is how derivative it is. /2
You can immediately see all the influences, and it's clear Paolini grew up a huge fan of a lot of fantasy classics. It's a work where an author has mastered all the basic fundamentals, but I'm always interested in what separates *tropes* from *originality* /3