Tips from a Literary Trickster

A friend of mine is interested in trying out role-play (in the writing sense), but was a little concerned that he was not nearly good enough to risk it.  Everyone has a chance to bring something valuable to writing in general, but I thought that sharing with him (and you) a few lessons I’ve learned about writing and/or RPing wouldn’t go awry.  Whether you’re writing a story, novel, or simply having fun with a friend, there are tricks to writing for maximum interest.

Don’t hide anything.  Every action and reaction has a cause, we learned this in science class, right?  Well, psychologically it’s the same deal and most of the time there are impulses and ancient history driving everything your character does, even if you don’t know it immediately at the time of writing it.  You don’t have to know what they know in order to write it instinctively, but you do need to allow yourself to explore their thoughts and feelings while you describe actions and dialogue.  If your character knows about it, it should never be off-limits in your exposition and you should never try to delay the reveal of information for the sake of creating a ‘mysterious’ character.  Which leads me to a big pet peeve of mine (mostly because I used to do it): If there’s some big secret you are trying to hold inside when you are writing from that character’s perspective, then it isn’t a major plot point and you need to forget about it.  There are ways to get around this, such as the simple concept that your character doesn’t know something about their own past yet, but the rule remains: if they know it, they know it.  That is part of who the character is and bound to be on their mind. If your character knows something about the villain, or the plot, if there’s some big element in his or her past, then they’re going to think about it whenever they think about it.  It affects most of their actions and drive, so don’t hold back.  Just because you write it doesn’t mean the other character knows it unless it’s spoken.  Unless they’re psychic.  In which case, just because you don’t write it out doesn’t mean they’re less psychic and you’re just making things harder on your friend.

Why should you describe every little thought and motivation?  Well you don’t have to go overboard, but interiority is an important part of a character.  In fact, it is the character itself, who they are.  People are what they think, how they feel, and what they do, so put all three into your writing and you’ll have a very complete person coming off the page.  Another reason to ply your prose with personality is because that’s what helps people decide whether or not they like them, it gives them a bond with the character because they understand their actions.  It also makes it much easier to interpret just how an action might come across.  The following examples show how letting a character’s feelings and thoughts come through completely changes the perception of simple actions.  Bet you’ll feel you know what sort of person they are, too.

Without interiority: He reached sharply toward her, paused, then dropped his hands and stepped away.

With interiority style 1: He reached sharply toward her thinking that the car wasn’t going to stop.  He was wrong, though–he felt like he was wrong so often these days–and hesitated before he dropped his hands and stepped away.  He was both relieved and embarrassed; glad she was okay and yet he lacked confidence in himself.  This was why she didn’t want to be with him anymore, he realized, because there was nothing left of him to be attracted to.

With interiority style 2: He reached sharply toward her, furious with her for making such a decision without him.  Didn’t she know this affected him too?  Didn’t she know how much it would hurt him?  Of course she didn’t, she was only thinking of herself, but it had been his baby too.  He realized he might do something he’d regret and made himself stop mid-reach.  His hands clenched as he forced them to his sides and stepped away to get himself under control.

If you’re RPing, write it like you’re going to publish it as a story.  Get everything out of what you write as you can.  It’s good practice even if you aren’t going to publish it and it’s more interesting to read and reply to detailed and engaging posts.

Write what you know.  Everyone and their mother says this, but it’s for good reason.  It’s easy to fool people who don’t know either, but those who know their shit will see you lying from a mile away.  Besides, there is a sense of authenticity added to anything you write when the little nuances of your own experiences come through.  Someone who’s never gone through it will think it’s written very well, but those who’ve experienced it too will instantly feel a connection to you and your character because they’ve been there.  So while it seems like a good idea to fool around with what you think you might know, consider this: It’s never okay to write a character who’s been raped if you are not a rape victim yourself.  You don’t know what it’s like, what the fallout really is, and you will most definitely offend anyone who knows better.  That truth infiltrates just about everything else you could write that you don’t know from first-hand experience.  It’s absolutely possible to have supporting characters who have trauma or facets you do not know too much about, because you have a) research on your side, b) you are not writing from their perspective and therefore cannot do them as much injustice, and c) you have experience viewing those subjects from an outsider’s perspective.  Be smart about it and you’ll be just fine.

Speaking of research, there are a lot of things you can write about purely with the knowledge you look up.  Most locations, for instance, can be researched in depth and pictures can be used to get a real sense of what it would be like to be there.  Hell, Google gets you right down to ground level in most cases and you can pretend you’re walking down the street.  You may not know how the place smells, but you’ll know how it looks and if you really wanted to get detailed you could look up what birds or other animals are in the area, how they behave, and what they sound like to amp up the authenticity.  Or you could visit, because nothing beats being there, but that just brings us full-circle to writing your personal experience.

Go big or go home. Do not, and I mean do not, write tiny posts or paragraphs unless absolutely, strategically necessary.  If you think a few sentences are enough, you’re probably wrong.  If it’s that short you probably didn’t put enough interiority or intrigue into what you wrote.  So unless it’s a stunning reveal moment for your storyline, or something meant to make a big impact (do this rarely or it has no impact), then you should probably beef it up.

Do-overs are more than okay. This is going to tie right in with the next two tips, but let’s start with this.  Sometimes you will write yourself/yourselves into a corner, sometimes you’ll really hate what you did, and sometimes you’ll change your mind about what you wanted to do with a person’s past, or reaction, and so on.  I’m telling you right now that it’s absolutely one-hundred percent okay to re-do stuff.  It can be a single paragraph or post, it can be a whole scene, and in the case of time changing all things, you can even re-start an entire storyline because you know damn well you can make it more amazing than the first (or even second) time around.  Nowhere does it say that things cannot be changed once they’ve been written (unless you publish too quickly for your own good, but that’s an entirely different subject right there).  In the case of RPing, you can even change details between you and your partner and simply assume the new information from there on out and not worry about the stuff written before it.  Trust me, re-writes are good, good things.

Don’t be afraid to assume certain basic actions. One reason some RPers write short posts is because they don’t want to assume what the other person will do and so they stop to allow that person to react to something said or done before they move on.  In some cases this is perfectly reasonable, but in many cases it’s actually quite safe to assume an action is taking place.  For instance, if you open and door and invite someone in, it’s perfectly okay to assume the other character comes inside instead of waiting for the other person to say they did so.  Another example might be that if your character suddenly starts choking the other character, it’s perfectly reasonable to assume that the other person is going to be shocked and fight back.  I promise you that if the assumption you make is incorrect and the other character would have done something differently, it’s okay to re-do it.  Gasp!  Yes, the thing I said before!  It ties in!  You can rewrite your post to then allow the other character to go ahead and do their actions or to react to an unexpected non-action, such as wondering why the invited character chose to stay outside or why the choked person is just letting it happen.

Practice makes perfect. If you think you’re no good at writing, if you think you’re no good at RPing, then it’s probably because you’re unpracticed.  The more you do it, the better you get at it.  Like anything else, you usually start out on the crappy side, so you should never blame yourself for being new to it.  Allow yourself the time to get familiar with the process and what works or not.  You may not know much about your character when you first begin, but through interaction with others you learn plenty about them and your writing with them will improve.  This is true in an RP setting, but it’s also true in story-writing.  Many writers, including myself, will often write random bits and pieces with their characters just to get a sense of who they are.  This is why, when you re-write a story idea or an entire RP, it’s better than the last time you did it.  Your own personal experience has grown, your own writing style has improved over time, and your knowledge of the characters and setting are far greater than when you first began.  So, again, do-overs are fine, my love.

I hope that you find these tips illuminating and helpful.  And remember, this is from my own experience with writing over the last twenty years, though most of it has been realized in the last ten, so do what works for you.  Keep an open mind and do your best, no one can ask more of you.

 

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Today I Saw A Man Die

Today I saw a man die.  I turned my cart around at work and there he was on the floor having a seizure.  Already there were three people around him, there were more people running, someone was shouting to call 9-1-1.  I recall uttering the words ‘Oh, my God’ and got out of the way.  I made sure my co-worker with the phone was calling the paramedics, then all I could think about was knowing he was okay.  I heard someone else say he’d hit his head hard, but it wasn’t until I saw the huge pool of blood that something inside me rolled over and I was shaken.  That is the only word I could feel all day: shaken.

So many of my co-workers were amazing.  One had experience with seizures and she was there by his side, helping to guide others to help him.  Another screamed for the emergency call and held the crowd back before running outside to flag down the response truck.  Another ran to get paper towels to help staunch the bleeding.  My boss knelt at the man’s side, holding his hand, holding his shoulder, caring without thought.

But what changed me was that moment.  The moment the paramedics arrived and started doing chest compressions.  The moment I saw his face was a grayish purple and his eyes were staring lifelessly at the ceiling.  I couldn’t see that for long, I had been stabbed in the chest by the vision of it.  Wordless, breathless, I turned around and told myself to work and not think about it.  But of course I thought about it, how could I think of anything else?

I think they got him breathing again, I saw them pumping air into him.  Then the next time I looked they had carried him out.  My boss was crying.  My co-worker who’d flagged them down was crying, feeling helpless, feeling like she didn’t do enough.  I held her tight and I told her more than once: “You did a good job.”

But I was floored by the complete ignorance of other customers.  People who continued perusing and shopping not twenty feet away from a dying man.  The man reading the backs of packages of cheese nonchalantly.  The woman asking another clerk for ‘just one more slice’ of the meat she’d ordered.  I felt sick to my stomach over those people.  I felt like yelling “Don’t you know something is happening?  Don’t you know something important is happening?”  The life of a man was slipping away, don’t any of you care?

I didn’t care that he was a perfect stranger, I didn’t care that I was useless to help him, I didn’t care that I was supposed to be working.  His life is as precious as any other and it was ending right in front of me.  I wondered if he knew what was happening as he fell.  I wondered what would happen to the groceries he’d just bought.  I wondered if his children, or wife, or whomever, would wonder what he’d last bought if he died.  I wondered how no one could stop, just stop, and wait to see.

Almost no one did.  It astounded me then and it continued to astound me as the day continued on afterward.  I wanted to leave work, but I knew I had no right.  I wanted to leave so very badly, I was too shaken.  I wanted to go home and hug my mother.  I wanted to stand in the sun and drink in the goodness of the world.  I wanted time to process what I had seen and felt, but I wasn’t allowed.  I couldn’t let everyone else down.  I wasn’t the only one affected by it, after all.

I couldn’t get ahead after that.  I was constantly playing catch-up, I was numb, I was in a shade of intense thought that couldn’t let the event go.  I was bothered by the endless customers walking over the now-clean spot where he’d bled out everywhere.  I avoided walking on that spot the rest of the day.  I kept needing comfort, I kept needing to process, I kept having to push that all aside and mosh on.

I can’t say I got over seeing that moment of lifelessness, but I got on with my day.  I had moments of astounding gratitude, such as the moment another co-worker gave me when she said ‘psst’ and tugged me over to a little spot where she’d put root beer and vanilla ice cream.  The relief of such a tiny thing washed over me.  I cradled the cup of root beer float to my lips, almost like I was hugging what it offered, and she giggled at me for it.  She said: “Sometimes it’s really about the little things.”  And with intensity I replied: “I don’t have enough words to properly express how very much I agree with you.” Because right then, it meant the entire world.  A few stolen moments to embrace comfort during an endless shift of having to push it away.

What amazes me most was the gratitude I felt for feeling at all.  Sometimes I feel like I must be more numb to the tougher emotional challenges life offers, sometimes I feel like many things warrant a much tamer response than others I know give, like they don’t affect me.  So when I felt what I did, I felt gratitude that I am, in fact, human when it counts.  It’s an unexpected upside to something I am still reeling from.  Perhaps, when faced with this new and ghastly experience, I have found a way to connect to the spiritual and see more than horror or sadness.  I don’t think that what happened has made me believe I need to experience life more fully, but given me an opportunity to appreciate the good with the bad.  I don’t know.  I’m not done figuring out everything I feel, but writing this has helped me begin to.

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‘Man of Steel’ Review

disclaimer

The movie opened into a world rich with a science fiction fan’s dreams.  Visually rife with unexplored culture, fauna, and technology, Krypton can be felt almost immediately.  There are several things unclear in the beginning that are explained further in the film, but there is no doubt that Krypton has a history we will never get to explore fully because, well, it’s time to boom.  Honestly, the events leading up to Kal El’s departure were extremely bittersweet for me.  As I watched the events unfold, I knew that every last thing I saw would cease to exist shortly and I mourned for that.  I would have happily watched a whole movie set in that world alone, the tough part is knowing I never will.

Without much to go on, we are presented with Jor El and Lara defying the laws by which Krypton has allowed itself to be governed, because they know it’s all over.  They’ve committed the ‘heresy’ of giving birth to a child naturally, all in the hopes that the child will be free to choose his own fate.  It’s never explained how Jor knows Krypton is doomed, but since he’s the Chief Scientist we’re lead to assume he knows everything.  He also knows that Earth will make his newborn son invincible, which raises a few questions such as why Kryptonians have never exploited this before, but let’s not get off-track.

Zod comes across as an incredibly brutish character, the sort of man you’d expect to be the lackey and not the man in charge.  I’m not entirely sure if the actor/director decided this actively or not, but the characterization was either genius as hell or overly stereotypical and worked itself out magically.  His drive is explained by the end of the film and actually makes a terrifying amount of sense, but for awhile I was struck by the dedicated amount of thoughtless action the man consistently unleashes.  His followers, however, are sadly two-dimensional.  A well-placed line or two between characters would have alleviated that, but those were unimportant details when this thing is all about the Supes.

Speaking of Superman, the bastard was well chosen.  I’ll admit I was unimpressed by the choice presented in previews because I had no idea how well he was going to fit into the role, they were only useful in showing you how well he fit into the suit.  Not that the latter went amiss with me when time came to actually watch the film, mind you, the guy had me panting the moment he was half naked and stealing clothing.  You know, when I actually got a chance to see him in all his muscular and chest-hair-y glory.  Yes.  Chest hair, people.  Superman has chest hair.  I have to sing praises to the film industry for bringing beefy hunks to the big screen.  I know it can be blamed on the comic book genre being thoroughly pillaged for the sake of box office cash, but it’s one I support so wholeheartedly that I get misty-eyed just thinking about it.  Just… thank you, Hollywood, for making them look like men.

Ahem, that aside, the actor (Henry Cavill) pulled Clark/Superman off excellently, I feel.  The only time I rolled my eyes was a flashback to him being a teenager-y douchebag and that’s not his fault.  I roll my eyes at all teenage douche-baggery, so it hardly counts.  From the simple body-language of revealing himself to Lois to a scene of desperate emotion for having to go against his character in the name of the greater good, I applaud him.

So Lois.  Lois is smart—and stupid.  There’s some unspoken agreement that to be a ballsy, career-forward woman that you have to risk life and limb when it’s ridiculous to do so.  As if common sense skipped you and Lady Luck is the only force between you and certain death.  Lady Luck loves Lois, but I have to admit that aside from the risky choices early on in the film, the woman’s got brass and investigative smarts.  She tracks down Clark Kent by chasing leads the old-fashioned way, something she points out is something other people are bound to try to do.  From then on, however, all of the bad spots she lands in are the fault of everybody the hell else.  Dumb ass bloggers on television, Superman himself, and so on.  She handles herself remarkably well and even iced the cake for me in the single most important scene of the film (in my meager opinion.)

Smattered throughout the film are scenes of Clark’s early years, timed to give you an idea of why being a god amongst men sucks royally and why trusting your parents can go just as awry as being a rebel.  These scenes hand you all the reasons why Clark spends his life trying to hide what he can do, why he struggles with himself over helping people when they’re in trouble, and so on.  It shows loving parents, emotional self-discovery, and one of the worst things I’ve ever seen a father do to a child.

You see, Jonathan Kent honestly thought Clark would have a shitty life if people knew what he could do.  Nevermind the fact that even if the government wants to experiment on him, that they couldn’t cut him, cage him, or harm him in any way.  Nevermind that the scared woman who knows Clark saved the school bus of children called it a ‘miracle’.  Nevermind that the kid who picked on him became his best friend because he saved his life.  Forget all that stuff and just think about how a man who knows he’s got a powerful alien for an adopted son might think about this.  My kid is weird and I don’t want his life to get any harder, I want to protect him from the big, nasty world, and so on.  He didn’t think the world was ready for Clark and, at first glance, the man’s right.  Though I think the truth was that Clark wasn’t ready for the world yet and Jonathan was doing his best to teach his son to keep his own secret because of that.  The problem with teaching him to hide the truth to prevent him from getting hurt is that it leads directly to hurting him.  I don’t know about you, but watching your dad die when you could easily save him is just about the worst thing a father could make a child do, and Jonathan did it.  He raised a son who trusted so absolutely in him, that when he made it clear ‘don’t save me from certain death’, the poor kid listened.  I’d like to call it a sacrifice of love, but I really can’t.  My only relief is in knowing Clark came to understand that too.  I think it’s that one mistake that lead him to save others even though it meant leaving a trail of good deeds everywhere, which is a big fuck you that I approve of.

Especially when you take into account the fact that Superman is universally embraced very quickly.  Not only did he go out of his way to save people even when in hiding—thereby creating a modern myth through his god-like works—but when shit hits the fan and he shows up to fight the scary-ass mothers from another world, it takes the military about two seconds to figure out there is a big damn difference between the two.  So… good job, human race!  This is a rare instance of script writers allowing you to have brains just like you do in real life.  The writers actually did a rather fabulous job of being intelligent through most of the film, only leaving behind a few loopholes in logic that were probably not their fault to begin with.

What loopholes? you ask.  Oh, well, the loopholes in logic would fall predominantly in two groups: superman physics and Krypton’s folly.

The former is definitely not to be blamed on script writers, because the physics of the Superman universe have always been faulty.  Nerds around the world have long, long debates over what would actually be possible or not and it’s because there’s no real solution to the problem.  Let me give you a basic example: Superman and Zod have equal strength and ability on Earth, which should mean that they can hurt each other when nothing else can.  But the truth is that even if Zod’s punch could normally break Superman’s jaw, we’re still using Earth physics.  It means a powerful punch wouldn’t hurt Superman one iota since it would only be a fist pushing Superman’s face, which transfers into velocity, which really only means Zod might as well have simply thrown Superman onto the pavement a hundred feet away.  Pavement that never has and never will actually hurt Superman when he hits it, grates over it, bounces off of it, and so on.  So any fight is pointless.  You can push each other around, but you can’t actually hurt one another.  Add in to that the fact that supposedly Zod and his followers have extreme trouble with their newfound powers of vision and hearing, yet have no issue at all with their super strength and flea-jumping abilities immediately… and you find it hard to see how the physics possibly work.  That said, you can’t have a satisfying movie if you believe the hero is having no effect on the villain and vice versa, so it’s just one of those things you have to agree to suspend disbelief for.

So Krypton’s loophole?  Well, Jor explains that Kryptonians were so advanced that they’d spread over much of the galaxy by exploring, making colonies, and so on.  It all sounds great until he glosses quickly over the change in the last few hundred years, when Krypton decided to use artificial birth with pre-decided life roles, to completely plunder the natural resources of their planet to extinction, and then have no idea their planet is about to explode.  How the hell does a race who has machines that can terraform entire worlds into their natural habitat never come up with the concept of mining their resources on planets away from home?  Also, how come everyone looks extremely spiffy in their outfits, have advanced ships and machines that can create black hole prisons, world-making engines, phantom drives, and artificial births… if they’re running out of resources?  How come no one but the Chief Scientist has any idea that they’ve made a grave mistake, that there is nothing left, and the planet’s about to collapse?  How come Krypton decided to pull back from all the colonies, shut themselves in, and stop having natural births, when they had a whole universe they could fill up if they wanted?  And if they’re aware that yellow suns make them super-human, why is this avoided?  These just don’t make any sense, unfortunately, and glazing over it by saying ‘we did this’ just doesn’t cut it in the end.  It’s not that I don’t believe there could be a genius answer that produces the same ending, it’s just a loophole without it.

The World Engine, by the way, was extremely cool.  While terraforming is old hat in science fiction, Man of Steel went about how the technology does it in a way I’ve never seen done before.  The idea of slaving the master ship to the World Engine was new, the idea that it pierces through the center of the planet and begins a powerful tug of war with the master ship is new, and the overall visual and audio effects of sawing back and forth was inspired.  I really love how that was done.

So Kal/Clark/Supes buckles the World Engine to make the master ship vulnerable while Lois and the military drop his cosmic baby carriage on the main ship to trigger the phantom drive to suck them up into a black hole and disappear forever.  It’s actually a plot gimmick that works well in this instance.  After all the fighting going on between Superman and Zod’s faction, it becomes fairly clear that destroying the enemy is nearly impossible and sucking them all into space is a good solution.  So they’re all gone, yay the day is saved.

Psyche.

Zod is still there.  I mean, if he hadn’t been and that was the end, I think the movie still could’ve been acceptable, but there he was and the movie suddenly added in a new layer that improved it.  There weren’t anymore phantom drives, this guy was going to have to die.  Strangely, in a moment of intelligence, even Zod states that one of them would have the die for it to end. In fact, Zod’s appearance scene was almost surreal for me because Zod actually makes sense for a few minutes.  Scary.  He is lost, he explains, now that any hope of Krypton being remade is gone, because—get this, this is where it suddenly all starts to make sense—his purpose in being born was purely to protect Krypton.  Artificial births with pre-destined roles?  Check.  He was born to do one thing and can’t seem to break free of it.  Brutish characterization?  Check.  He even says that his purpose was to do whatever it took to preserve Krypton.  Well, shit, no wonder he never actually sat there and questioned his actions.  I mean, that would’ve meant he’d risk going against his primary objective.  You don’t need to think for yourself when you only need to function just enough to beat something into submission in the name of the homeworld.  Attempt to conquer your 0wn government and declare martial law to protect your planet?  No problem.  Kill lots of your own people for putting your planet in danger?  Well, of course.  Hunt down a rogue Kryptonian to destroy the entire human race in favor of recreating Krypton with a derelict World Engine?  Don’t make me laugh.  Lose your complete damn mind when the last hope of remaking this world is destroyed?  Yes, please, with a side of hot sauce.  Make it clear that you will never stop until you’re dead, then try to kill as many people in front of Superman as possible as revenge for killing Krypton? Yes, sir, may I have anoth—neck snapped.

No, really.  This is the impending sense of desperation that Superman has to deal with as he grapples a Zod set on revenge.  The warm-hearted Superman begs Zod not to do this, but there is a moment when Superman just knows: Zod will never, ever stop.  And in that moment he knows there is only one choice, a choice he never wanted to make, and he kills the one thing only he can kill.  But the weight of that choice, that tide of realization that he had to go against everything he ever worked for—to save and preserve life—that his perfect record of good has been taken from him, comes out in a cry of absolute anguish.  This is, by far, the best scene in the entire movie, because it was palpable and hard to miss the destruction of some small part of him.  He makes his commitment right then and there as a superhero by killing for Earth’s salvation.

Lois witnesses this moment and doesn’t hesitate for a moment to run to Superman there on his knees to hold his head and try to soothe him.  He clutches onto her and crushes her body into tiny pieces. No, not really, but the moment is a wonderful one, as Lois yields to femininity and uses the strength of a woman to comfort the crumpled emotions of an otherwise invincible man.

What follows is something fairly easy to predict while watching the movie, but insanely brilliant on the behalf of those making the film.  They changed one extremely important piece of information that has been consistent in Superman up until now.  The end of the film depicts Clark arriving at the Daily Planet to start his new job undercover as a reporter, changing forever the Clark before Superman paradigm and making the epic alteration I previously mentioned.  There is no identity to hide from Lois.  Lois knows who he is and what he does from the very start and is a powerful ally in his choice to keep an eye on the world from his alter ego vantage point.  No more are the days of ‘how come you can’t tell he’s Superman wearing glasses??’ or ‘But if Lois found out the world would explode!’.  This film has done a dynamic thing here.  He doesn’t really go about this film as Superman or even Clark, he’s in it as Kal El and somehow that’s deeper than any other form of media has yet to have undertaken.

To wrap up, I’d like to throw in a few random thoughts that had no place elsewhere in this review.  I was relieved when the previews first came out about this movie when I learned that Lex Luthor was not going to be involved.  I really feel like it gave the film a chance to remove itself from stereotypes and strike out on its own ground, and it has.  However, there’s no denying that Lex is a huge deal in the franchise and that he is coming.  That’s why I was delighted by the single, subtle reference to Luthorcorp in the movie and I have to say ‘bravo’ to it.  Secondly, in watching Henry Cavill intently, other bits of my nerd brain connected and I couldn’t help but think: damn, he would’ve been a perfect Richard Rahl if they’d filmed those books properly.  Or John Galt, even.  Anyone else think that?  No?  That’s a shame.

So to wrap up, I utterly loved this movie.  None of the loopholes dissuaded me from loving the direction they’ve taken with this and I can’t wait to see more.  I’ve heard rumors DC wants to follow in Marvel’s footsteps and do a Justice League film, which means—I HOPE AGAINST HOPE—Wonder Woman and others will soon make appearances on the big screen.  If this is any indication of how those will be, I’m an excited bunny.

loveit

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