Archive | June, 2020

Journey Through Literature: Crime Genre

25 Jun

What was your first book about?

My first book, I ever wrote, and was the first published, was called The Disintegrating Bloodline. It was a weird title, as it was going to be a weird book. It was a book that represented my youth and the power of such youth is the ability of what I aspired to be. When I started writing the book, I was in a creative writing class. The teacher was Ms. Jones at Hermitage High School. She was beautiful as she was interesting. There’s nothing like a beautiful creative writing teacher to want to make men start writing. It’s not a profession that most men want to do. But the first chapter of the Disintegrating Bloodline was written as an assignment. But it was Mario Puzo’s “The Godfather” and Nicholas Pillegi’s “Goodfellas” and “Casino” and JRR Tolkien’s “Lord of the Rings” series that helped continue the book. What changed is that I had a book that nobody wanted to publish, and it’s no different in any other time. But crime has always been about the “subterranean” and how it was “supposed to talk about the literal and the metaphorical truth” as John Tuturro admitted on the making of The Godfather. What allows crime to pass is Greed. That’s the main theme of a crime story. It’s why at the beginning of “The Godfather” where Bona Sera comes to talk with Vito Corleone about “killing the men who beat up his daughter.” Vito Corleone offers him help as long as they could be “friends.” Criminals work against people’s better emotions. They want favors from the people they love. It’s learning that “everyone has a price.” If you wanted to break down Paradise Lost by John Milton, it’s a religious thriller and a crime drama between heaven and hell.

I want to start with that idea. Paradise Lost, John Milton, published I n 1667, was a retelling of God’s creation and the way Satan was cast out of Heaven. Pride is a big sin in the criminal world. It’s linked to vanity. Vanity against a creator, as it was the defeat of such a proud general who was pushed to the side, and Satan is the will of the angels, as he was the most cherished out of God’s army. What culture creates around pride and sin are cultural mores. Heaven was the only purpose of the world in God’s eye, but it was the angels who were cherished by God. But as Satan, who was ambitious, is clearly going to disobey God. Tear through the ranks, and show that God was not leading the Angels according to his will. It’s worse when the Generals closest to the dictator know when they must take hold of the crew. And to be God was the ultimate victory for Satan. The immense pleasure and power of being in charge is in every crime novel. It’s the undesirable implication of being stuck as a soldier, and in a chain of command, many young soldiers can outwit there leader just by a few chess moves. God is not stupid when it comes to the pride of his angels. There is no confusion. God knows, but to wait it out. Patiently. If Rebellion is to come, God has to meet it, but in a crime genre, it is the pride of angels who want such power over God. Satan was loyal, but the love for God was not there, at the battle between Heaven and Hell. The peerless eye of God was waiting, but it was Pride that made Satan fight God. (All of this is my own musing, but you get the backdrop). This is where Milton begins. And that’s when Satan lost, and was cast out of Heaven. Battered and destroyed on the banks of Hell, he is pissed. An understatement. It’s a battle that Satan couldn’t win. In the mean time. The battle was a disaster. Like the implication of a battle, all of Satan’s powers were stripped away. He was not the same. Satan is planning his revenge. Immediately after he is cast out. All his demons have no morale, and he rouses them to fight for him, as they would “rather reign in hell than serve in heaven.” It’s vengeance that drives Satan, as it was a crime to “challenge God” and then pursuing God was then Satan’s act of vengeance. Satan is confident, and however he thought it was better, his plan of vengeance against God’s creation, Adam and Eve, and he succeeds. If you placed this in the present day, this would be the same story, but different time. Crime is about knowing what the people want, and then extorting them.

Like how?

Criminals always are your friends first. What you get then is “okay, you want my protection, then you owe me a favor.” It’s how the mafia worked in Italy. They were your friends. The partisans worked with the US Government. Lucky Luciano urged the US government, with blowing up a ship in the New York port, which helped the US into WW II. The desperate actions men will take in order to have power are always with “good intentions” as “hell” awaits. Criminals always have to make more moves to make sure there empires are covered in blood of there enemies and those who oppose them. Criminals think they aren’t the villains, and it’s always an innocent that rises up to destroy their leader, who gave them a chance. Vito Corleone is a fictional version of the “good mafia Don” and all the stories about the men representing evil incarnate. The desperation with having to ask the mafia for favors is what the world doesn’t want. It’s better to deal with cops than with criminals, but sometimes it never works out that way. Criminals will always want to help, but then it’s an added tax on your soul. You’re “property” not their “friends.”

What is the value of property on criminal friendships?

Criminals always value “property” and they prey on the weak. We can name a lot of films that do this. New Jack City with Wesley Snipes and Ice-T, proved that you could have a story about the cops as well as the criminals. The cops weren’t just focused on getting Nino Brown, but it was Judd Hirsch who admitted that he was a druggie as well, and became a police officer to fight his own demons. What the world wants are heroes and villains, but sometimes, life presents complexity that challenge the stereotype of good vs. evil. People are not simple and nor do they ever live “inside a box.” If you wanted things in a box, you should just make a coffin so you can live with your dumb ass ideas, because most people won’t. Crime is knowing that you won’t escape the punishment. T.H.U.G.L.I.F.E. means The Hate You Give Fucks Everyone. It’s a reminder the hate you spew will come back to find you. It’s knowing that the hurt you caused would only make the situation worse. Try living up to the ideal version of yourself and you will break. I don’t count on people to be perfect in books, because in crime novels, everyone is guilty. Guilty enough to find there place in the world. Where they don’t belong. Your criminals shouldn’t belong and no matter what you try to do, you can’t escape your fate. To die by the hands of your enemies, because it’s written. Committing vengeance only returns it with a side of coleslaw, and you will have to eat it, because that’s what you didn’t remember ordering. What you don’t remember is that you have no way of remembering. But the ideal criminal is knowing that they follow there prideful acts with more rage. They don’t have a conscience, and while it’s more than enough to find a dead body, the dead body is what makes the world of the criminal far more interesting. Who is that dead body to the criminal? What was there relationship to it? Does it have any significance or is it a passing psychological metaphor that is recurring through the text? It’s more than enough to say “Vito Corleone was a family man” but he treated his friends and his enemies the same. Loyalty is a big key in crime stories. It can be a catalyst to another characters rite of passage into violence, or it could be the denouement, but without it, betrayal makes a crime story juicier. Add something personal to it. Make it more than just a crime story, and you will have a new genre. Science Fiction has always employed the crime genre’s tactics of a detective in the future solving a series of murders, like Altered Carbon. The product of a crime is that there is violence and dead bodies. There must be cruelty in each character even when you know what they want. Add some more deception between a mother and a son or father and a daughter, that helps too. The connection is when the writer must know they are building up the tension. Action is fine, but the violence must be seen. It must be seen if your reader is going to react to it, and crave it. Your reader wants you to crave violence committed by the main character. Either it was right or wrong, it adds up to the series of bodies your character is leaving behind. Leave all the bodies you want, but it’s only going to make your story better. Violence is what your reader is there for. Do not De-escelate your violence or the tension. Maybe you don’t have to show the wisdom but you can definitely let your readers know it through action. Sex is also an important function of a crime story.

Do you think there is a difference with a good quality sex scene?

If you haven’t had sex, please find that before you miss out on the best years of your life. What you expect from it is pleasure. Two people trading there virginities for each other like baseball cards. Sex in a crime story is not just a way to show the character’s softness toward a woman, but also show her his true masculinity. Masculinity is what makes a good crime story better. Soy boys do not make good main characters. (For people who don’t know what a soy boy is, they are weak effiminate male that look like women. Those are anime males). A soy boy is not threatening or even close to a criminal war lord. He is a bitch and should be treated like one. (Now that’s out of the way). What makes a good criminal is how much of a charmer he is with women. He should hang out at bars and pick up women. Fuck them until he is satisfied, and make some little quip that makes the girl wish she let him bust inside her with a condom. Because every woman in a crime novel is attracted to a piece of shit. Even the detectives wives in a crime novel are Queen dumpster fire of women. They are just as worse as the men. Boxcar Bertha is one film that you can look to where the main character, Bertha, a piece of shit. When the criminals are women, it adds a layer of biblical deception. It makes you think of Jezebel when she cut off Samson’s hair. We classify her as an “evil bitch” because she knowingly cuts off Sampson’s hair and delights in it. She wants to tempt him and even when he loses his eyes, he’s not afraid, and he destroys everyone who was involved. It’s better when your character is taken to the point of self destruction, and no matter if it comes from drugs, or his need for revenge, it was going to happen anyway. Destruction is what your character must face. Either spiritually or physically. The torture must be felt on every page, and when you don’t return the goods on a story you are selling as “edgy” you are not “edgy” and stop saying you are. If you don’t “deliver the goods” you are merely a hack artist. A failed story teller who became a journalist. The fear of what your character knows can also work to a benefit, but self deception is what makes a crime story work. The progress of deception is what makes the villains devious and more human by the day. “Knowing what your characters think” vs. “What they do” is how you know to build tension and how much action you can offer. There is usually a difference between the two. Having a group of characters lead you by your violent tactics, violence can be a rush. It should be enjoyed but also feared, but also like staring at a broken bleeding doll that you killed yourself. It’s when you start to analyze through the images that a character sees, with or without being told. It’s learning that your character shouldn’t have to be that lost to know that he should enjoy themselves. A lot of games empty the save space room where your character rests up for a moment and you can save the game and craft your weapons. It’s not the newest technique, but 1911 used this well. But the sensibilities of a character resting or professing his love for a woman through shrugging, and being hurt to the point where you have no more energy left. The reader like yourself should be drained as your character is. The problem is not knowing how to do this organically. Characters on the run do this. all the time. To summarize the story, but also find the courage to say the things your lovers on the run are learning as they are pushed to the extremes. What you face is the fear that you will not make it, and while the character is there, you must explore all the depth you know you have to face. If you are afraid of death, make that part of the conversation. If you fear being alone, have your character say it. Comfort each other. Heal each other when they know they could die any moment. No moment like the second you have on the page. It’s what you think is better than the rest. Anxiety must be apart of the crime story. People need to be on edge, but then again, being on edge isn’t enough. How do they deal with being on edge? Sometimes the best answers are unknown, and some can be forgotten, but brought up through interesting concepts the writer should employ. But it all must come from you.

Do you think crime should resemble the American storyteller or the British storyteller?

We can all think of great British crime writers. PD James and Agatha Christie are the shining beacons of British crime stories. Agatha Christie knows she’s employing so many techniques that even Resident Evil Zero borrowed from by putting the main characters on a train. A crime can happen anywhere, and it doesn’t matter where the location. A whodunit doesn’t have to be structured the same way all the time. That would be boring. Like the A is for Assassin type of novel, where you can predict what happens on every single page. If a book is predictable, please do not copy that style. But if you are reading this, you want to write something complicated. You want to take your story to new heights. It’s learning that stories can take you out of yourself, and put your emotions to rest. It’s learning that you can call upon satan with your gun and you can end the life of your enemy. Learning what sadness can do and guilt. It’s surrounded by the danger they know will become what they know will take every character into hell. Crime is necessary to society, because it teaches you where to go. If we are going to see more places like CHAZ thrive in violence within two weeks, this is the prediction that came true for William Golding with Lord of the Flies. The crime in any modern society is wrong think, and people try to erase it or ban it. It’s deviance to think that world living in a free uptopia will outright lead to violence, and in crime stories, if a weapon is going to be used, you have to use it against your enemy. Communists use information against there enemies, and they try to erase the evil they do, to not show there crimes are in full display. Criminals want to erase the past, and retitle it “We are all happy” and they think people are going to accept that. Communism is a crime people, remember that. Crime stories set in Soviet Russia are always political but they serve a purpose to talk about political corruption. European crime stories are focused around the crimes the state has made against its citizens. The Strugatsky brothers always faced censorship by the Soviet government. What is told in European crimes is that it’s sometimes not in the best interest of the individual to fight the state, but if the crime is so grave, the victim, knows there berserker roots will take over. Losing a child can lead to destruction of society and the media and the politicians who protect evil people. But then again, the media has made more mistakes, which by attacking people who haven’t done a crime. No wonder why the world will “rage” over “fake crimes” when crimes are being committed every day, but no one wants to tell those stories. Those stories won’t be “published” by the bigger publishers, and telling you that “the news can lie” would probably be more of a crime in Soviet Russia, but then in Russia, the government controls the media. Which allows the deception of the individual who knows they will act on there own. Sometimes the angry man is far more dangerous than an army, but rage can only suffice when there is a turn for the worst. What can happen in crimes is worse than you can imagine, but it’s never done in a PC way, because PC crimes are boring and they don’t add any depth to the work at hand. Politically Correct Crime is making a crime against a white person good, and no matter what people say today, they can never tell me it’s good. Crime is a human tendency even if you don’t want to commit it. There is always a need for crime in a novel, play, video game, movie, and if the crime is legitimate, it can be effective. Sometimes an emotional crime isn’t the only way. Political crimes are worthy additions to the Crime novel, but crime is apart of humanity, and whether it’s in the future or past, it makes little difference. Crime is always accessible. One thing that is interesting about the Naughty Dogg game Last of Us 2, they break the rule of making the villain two dimensional, and giving her a story as well, which is really fun to play, and I didn’t think I could feel something for the villain, Abby, too. Sometimes a crime can make the world better. A crime can make people aware of there true selves. What makes the world better is knowing that there is a crime instead of hiding its existence too. So keep covering it up in fiction and you will have a great story. But then knowing what a crime is isn’t the same as those villains who only fund the crimes, and knowing where the money comes from is also important in the writing process. But if a crime doesn’t happen, there is no drama, and if a crime is covered up, then it must be discovered. Sometimes you can do the opposite, but you have to consider why the crime is important. What drives the character, and why should a body be important. What drives characters is how a character can make or break there fate. Everyone is supposed to die so you need to consider death as a viable option in your work. Sometimes it can be meaningless, and if it’s meaningless it still means something. Senseless violence is supposed to be part of life. Not every death makes sense. Why was it that Jesus died on the cross and gave redemption, but all his apostles betrayed him, and he was left with his mother, Mary, and Mary Magdalene. It was the worst moment of Jesus’s life, but even some mysteries have to contain some bitterness, as the control of mankind is devious, and they will destroy themselves in order to keep a death a secret. A secret is better when there are people who know and the only one who has to find out is the main character. It’s perfect, because people need to know, but then, if every death meant something, then you wouldn’t be surprised. The effort would be pointless, but again, literary thrillers do not exist for a reason because cinema handles tension better. Crime noels are best when there isn’t enough information for the reader to go on. So they keep turning, but the characters in crime novels have to consider why they are doing the crime. Why are they better off not knowing? Some character commit crimes and they have to repent and redeem themselves. It was definitely better than they realized. Some characters have to be smarter than the rest, but what if the body or the goal has no purpose at the end? Sometimes the answer in a crime novel is not going to make the character a better person, because that’s not real life. Sometimes, people don’t change. People will never be who they want to be. Talking about the characters failings is what makes a character interesting. What are there dreams? It’s the way a character wants to do better is what makes it interesting. But do come stories mean they are better if they are in Europe or America? No, but it does help if you know the culture and the language, or make up a culture and a language.

Is Crime Imperative?

Crime is not always imperative, but revenge is a circle you can’t escape once set in motion.

Last of Us Part II: Regeneration through Violence

22 Jun

It has been seven years, since the Last of Us came out, and times have changed, but my curiosity toward finding out every piece of information of development was always in the back of my mind. Dreaming about scenes of the future game were always in my head, and the first game got me through dark times. It’s hard to see so much hatred for the Last of Us, due to controversy with Youtubers and copyright strikes, the review is not based around the politics of Naughty Dogg. The game is what I was waiting for. During the week, it has been severely overcast in Richmond Virginia. It seems to set the stage for when I am going to play the Last of Us 2. The haunted feeling of having to dream of the game for seven years is coming to a close. The waiting has been years in the making.  

            What should be said that hasn’t already been said in reviews. What has to be said is the voracious anger replaced by the love of the first game. Four years later, Ellie and Joel live in Jackson, and they have built a life together. The first hour and a half of the game cuts back and forth between Ellie and the secondary character, Abby, who are intertwined from the first game, through different series of events. Abby’s father was the doctor who Joel stabbed as he took her out of St. Mary’s Hospital. Abby murders Joel out of cold blood, but Ellie has no idea how or why Joel is killed. What then begins is Ellie and Abby’s journey through different days, as each section for the characters are named after the same day, Seattle Day 1, which is confusing at first, because the stakes are raised. Ellie is chasing after Tommy, following his bread crumbs of violence against the WLF. As Maria says to Ellie, “Bring my dumb ass husband home in one piece.”

            Ellie’s journey comprises the first three days, as she moves through a hostile world, trying to make sense of her complicated history with Joel through flashbacks. The flashbacks, which is called in literary terms, in medias res, or in English, into the middle, without preamble. Many youtube reviewers don’t know about this term, and most consumers of entertainment only like linear stories. The flashbacks are rather invigorating due to the constrast of the dark overtones. (This is also seen with Abby’s journey as this technique shows the similarities and differences between the characters). What Ellie has wandered into is a city that is about to erupt in a civil war between the Washington Liberation Front, a private militia based in Seattle, and the Seraphites, or SCARS (due to the scars made to there faces) a group of religious fanatics who use bows and arrows and worship a woman who made a religion after Outbreak Day occurred. 

            Abby, who is muscular and built, training with the Washington Liberation Front, after the Fireflies are destroyed by Joel’s hand, Abby and her boyfriend Owen, who Abby lusts over “finding a lead” toward Joel and Owen says, “It’s this isn’t it?” which if they find Joel, it will only mean Joel’s death. The distinction is that Abby must face up to the facts that most of the characters despise Abby, except for Manny, after she is saved by two Apostate Seraphites, Lev and Yara, and she starts to overcome her own “prejudice” toward the Scars, and then stakes her entire life to help Yara after she is hurt. The two character intertwine at the end, and it is certainly a game that took from the “regeneration through violence” themes in most literary textbooks.

            The themes of fanatical hatred course through all 34 hours of the game, keeps the quiet moments filled with tension as you explore for secrets, weapons, and parts to upgrade your weapons. Fanatical hatred is inhabited in every character, as Ellie becomes less of the “good guy” and more into the “anti-hero” and that’s a good thing. A society is disarray is not going to understand how people feel and what they believe after that is “inconsequential.” The textbook “Regeneration through Violence” by Richard Slotkin seems to be the guiding inspiration for the game, and what loss and grief can do to rational people.   

            The Pros: Stunning gameplay, voice acting, harrowing story, and the risqué quality of the nonlinear format. (FYI, open world games are not my forte, but Naughty Dogg has always been good at internalizing all the tropes of a genre, making them a “trendiest trend setter” but not the originator, and that’s okay). The upside is the relationships that the characters have, which show how obsession can drive people to the brink of death. A lot of the game can be very funny in places where it didn’t intend to be, adding a lightness to the overall weight of the drama in tow. It’s fun, exhausting, so be sure to play it in bursts, if you can. The safe combination parts were fun and adds more depth to moving the safety lock. If you put the sound on a bose system, you will hear everything. It’s that immersive. 

            Con: They should have made the death of Joel apart of the flashback as she has to become the grizzled “anti-hero,” much like Joel. Another con is the monster reveal, that didn’t seem to let the player know what it was going to be through the Artifact hints, but after you see Alien, you know how someone can craft a truly ingenuous species with originality. The monster, which MckFireandIce labeled it the “rat king” which almost to some extent does look as though it’s a rat, but it seems to me like people that were pooled in a collective mass, or a blob, that couldn’t escape when the hospital was filled with “infected.” It’s a tank of a creature that has to be destroyed with every last bullet and bomb. It almost feels like a boss battle out of the Resident Evil series, and while it is fun, the first impressions of it feels slightly off for the Last of Us part II.  

            Opinion: The whole “gay relationship” with Ellie and Dinah doesn’t surprise me, because I’m oblivious to it, but again, this is 2020, much of the relationship is “human” when it doesn’t concern the love scene. My opinion is that the love scene was too fast, which did take people off guard, and in all due respect, all I said was, “Hasn’t anybody at Naughty Dogg watched a porno?” Here’s what most people will say when it comes to something original, “If the structure of the work was in a book or television show, it would be accepted.” As a writer of fiction myself, that’s completely untrue. Anything new is immediately mislabeled once it comes out. I have done it, and nobody liked it when I did it, so Naughty Dogg must feel the same criticism too. What I do think is contentious, is the ending, because it will sell you the happy ending, but it feels very dreamlike and it doesn’t really belong with Ellie’s world. The ending could have been differently. If she had the happy ending but woke up, and ended the fight with Abby after she was left, it could have felt like a good pay off.

            Final Opinion: The game is definitely a must play for any fan of the original, and it is a dark and very angry game, but it is more prevalent with the times we are facing in the pandemic of Covid-19. I am excited over what they do next with the very ambiguous ending.

            Score: 8/10       

Adendum (July 27th 2020): After upon further speculation, there are some cases as to why this game is a ten out of ten, and while my 8 still stands, there is very good reasons for giving this a ten out of ten. After such careful consideration, that is the first passing review, but a video here gives a perfect reason as to why Last of Us Part 2 deserves a ten out of ten. https://www.youtube.com/watch?v=hB79L0Qtk5U

Otherwise, I have given this a ten out of ten on my Metacritic score, after some careful thoughts, because it meant to condense what I thought into a shortened view. What is important is that I don’t have the same impressions of the Rat King as before, but it can be frustrating on the first play-through, but the controversy surrounding Metacritic made me consider the score, because the review bombs weren’t giving it the chance to help them like the game based on biased viewpoints of people who didn’t play the game. Apparently there are more features in the game that can help make it easier to play, like having a slow motion button that’s very reminiscent of Days Gone slow motion zoom. What can be said is that we must consider the context of the game before judging something based on the merits of a leak, and not the game itself. I have been on the end of people’s blade when it came to being misinterpreted by readers, and it does make the review harder to consider honest and people thinking “you are a shill.” Trust me, I haven’t been paid for this review, and anyone who wants to suggest that, can go join the lemmings off a cliff.

Journey Through Literature: Romance/Erotica

10 Jun

Why do you think romance is so important?

Romance depends on what makes people look at one another and a feeling pervades, (sometimes), that “I love this woman and we are compatible, and she’s my best friend,” but Romance is something that must be earned. An earned Romance is along the lines of Pride and Prejudice by Jane Austen. Two people who don’t initially like one another. They should never be together in real life end up changing one another’s life for the better. A hardened heart can only be mended by someone who accepts them for who they are, and they can change. The deception is whether those stories are good for us or not. There are many who consider the “earned romance” the staple of romance since Jane Austen wrote Pride and Prejudice. Modern Romance has not really done anything new in terms of what the Romance story can do. If Romance is concerned, that’s Nicholas Spark’s territory, and we all know the Notebook, and we won’t talk about that. What Jane Austen did was commercialize the pain of two people who shouldn’t belong together, in the real world and realizing it was for the best. It’s through the narrative that the romance for the two character’s is earned. When Mr. Darcy helps Elizabeth’s sister marry Mr. Wickham because Mr. Wickham was going to leave her, it changes the worldview of Elizabeth. Her inability to see past Mr. Wickham’s charm is what Elizabeth and her sister fell under, as it made him the villain of the story. It means that gossip will ultimately ruin people before Elizabeth decided to confront Mr. Darcy. The wild ambition of two lovers that earned there respect is what made Pride and Prejudice a class in the Romance genre.

Do you think Modern romance is missing the ingredient of earning trust between two people?

I know that people might not agree with this, and I don’t defend 50 Shades of Grey for the idea that it was “well written.” Guess what: it wasn’t. 50 Shades was essentially made from Twilight fan fiction, and while it’s better to assume that it has not helped modern romance, it certainly helped push the BDSM culture in a weird way. I never got past the 15 page, because if it’s horribly written, I’m going to google it. BDSM love romance is there, and it’s best represented in The Secretary, with Maggie Gyllenhall and Jame Spader. It’s what most modern romances know is that sex becomes soccer mom’s days when she’s drunk and tipsy off her third glass of wine. She works in the house all day and she walks her dog and she’s a midl mannered mom from the suburbs. Her purpose is there, but it’s 50 Shades of Grey that turns her on during the day. When she has cleaned the whole house, it’s that wine and a book that makes her remember her days being home. Millennial women game, but it’s for a certain demo that 50 Shades of Grey belongs to. It’s the ability to let a man like Edward Grey, in 50 Shades, be his own man, but it’s by the third book, that he devolves, but that series sucks. What modern romance is should be best characterized in hashtags and bullshit posts about “how they love each other” when it’s not working out. The problem is neither your girlfriends fault that she wants your dad bro because if you make no money, that’s the only option she has left. But dating an older person means learning to accept that there back might not work. As Dave Chappell said, “There is no such thing as a good 37 year old pussy.” But Romance is defined by women in gender studies programs that have never found true love so they become lesbians and never have sex.

Don’t you think that’s an overstatement?

It’s all over twitter, and you tell me that’s not real. The problem is that it’s not real, is what happened to women on there quest to being independent? Did they realize that no man wants to be with a woman who screeches all the time, treating him like shit? Because that never worked. Yelling at men doesn’t make men respect women. It’s problematic to think this, and I don’t like thinking this is true, but Twitter always makes me think this way. Twitter women have no instance of morality or they treat men like shit because they’re married, (which is fake, and seriously guys, don’t go on twitter, bc you don’t want the leftovers from the 2000’s). What makes romance seem disingenuine is that women want to be aggressive and they want to be independent. Great, but romance is when two people come to the agreement that they are flawed and being together helps balance them out. If you are a TERF, please just date cats, but even cats won’t like them. It’s because women think “no matter how ugly I am they will always love me” and obese women love to lie about “how they look.” There skinny friend is fucking there man behind there back, and it’s funny when they stay silent, and they think about there ugly friend’s man. Women are far colder than men when it comes to cheating. If a woman tells you, “We’re trying this out and if we break up, please accept it,” take it that your relationship was not built on a solid foundation of respect and love. It’s accepting who people really are and learning how to not rush things. To not send “dick pics” without permission. The reality is that most relationships never start successfully with a dick pic. If that’s the basis for a modern romance, there is no romance. That’s just stupidity. But then again, “some people say cucumber taste better than pickle” as Dave Chappelle said.

Why do you mention comedians instead of philosophers?

Just trying to get your attention. I talk about what people can relate to. Love, from a Shakespearian point of view, is often doomed, when it comes to Romeo and Juliet. Probably the most copied and alluded to of Shakespeare’s work, and that’s not just the basis of all romance literature, but what two people, Romeo and Juliet, are not good for one another. They were cursed as there families remained in a blood feud, and the two main characters think love is the great equalizer. The problem is in drama, love is often doomed for the main characters. It’s learning that all your good intentions of bringing two warring families together, might not be a good idea. There’s a few terms when understanding doomed romance and Romeo and Juliet, with a few definitions, “family as entity, family as container, family as living entity, family as primary group, and family as machine.” (https://www.encyclopedia.com/reference/encyclopedias-almanacs-transcripts-and-maps/relationship-metaphors) What you have is the psychological presence of a family, with the character’s families, that turns tragic as Romeo is accused of murdering Tibalt, as Juliet fakes her own death to see her lover again. But Romeo’s a big dumbass. He wants it all, and realizes that he doesn’t get the message that Juliet fakes her death. He kills herself at her grave and then she wakes up and kills herself with him. Yes, I did boil down the entire plot of the novel and you should read it anyway. The Baz Luhrman and the original from the 60’s are good examples. It’s the family’s warring parties that destroy the two lovers, who shouldn’t have died anyway. But is love really complicated? Maybe you should ask Romeo and Juliet. But that’s dramatic love and how two families can destroy love on principle.

Most Millennial don’t know what love is. Is that true?

If you love someone, without ever questioning them, driving down to see them when they had no car, and buy them things, you did love someone. It’s love that can mend broken people. Maybe instead of medication, broken men need to find companionship, and get a gym account, today. Lift as many weights as you can if you don’t have a set schedule. If you are genuine, you will find somebody, but the obvious decimation of love is that when a partner can’t return the affection. They have suffered abuse by a family or a predator (in the family) or a total stranger and it can change what they think about the world. Love is not feasible to those people. They have no promise of returning it and they have no idea what commitment is. Romance can be used vindictively against the will of another, only to make the person angrier. Sometimes it’s when people have nothing to talk about. The woman you are dating is just boring and she might end up working at fast food while you are going to school and become a businessman. It’s not out of touch with reality, but those two people don’t have the same goals. You don’t want to date someone like your mother or father because that only works if you are fine with it. A lot of women in the 18-25 year olds that want older men, because they reject pop feminism and millennial feminism. It’s through a generation that is willing to experiment or focus on marriage that shows definitions of Romance. Romance is not outdated it’s just sent through text messages.

Explain to the Boomers out there who don’t go on the Internet when you talk about “dick picks’ and “text messages.”

Maybe that’s a little insulting (whoever asked this was a troll), but even Boomers may be hip to this, because you can’t tell Eric Weiner is blind to what a dick pick is. (That’s gotta hurt). What most boomers do not understand is that “dick picks” are a sign that the woman likes you. It should never be sent if the girl doesn’t want it. When that doesn’t work, find out what they like. Talk about it with them. Try and see what they like about the group you may not like. It’s empathy that helps people build relationships. Even though the Corona Virus has imprisoned people (you can’t tell idiotic BLM and Anti-fa this but fuck them they are inter-related) it’s time for romance to start up again. Writing about it is learning that you may have to change and whether that’s losing weight, or just learning that you might have to be better to your spouse, and returning back to the days you both were happy. Being grown up isn’t a death sentence when you are married. It can revitilize people’s priorities. You can read a book or play a game together. Dick picks, boomers, should be within consent and if you are spamming your dick to strangers, you might get blocked. It’s learning that you won’t win being a douche. It’s the equivalent of wanting to fuck after the first date when a girl will just eject you real quick from your lives. All you will get is “Hi” on there DM’s and some women need to just tell you to fuck off if you don’t get it. But feminism is a stupid reminder to reject men based on stupid principles too.

Do you think there is a feminist love story?

If there is a modern one, it’s learning how to destroy men’s lives and ruin them in the divorce and get half there settlement. Just do what my dad did is just ignore my mom and then after I was 18 not leave her with any settlement. Yeah, you could be like that. You could be the male version of that story. It’s personally reprehensible to treat men in shity ways if you are a feminist. Just become a lesbian TERF. That’s your feminist love story. (Kidding, or am I?) The problem is that feminism wants equality, but do women take back breaking work? No. They are gender studies and English majors (bonus points if she’s an English Major, because they fuck like crazy, so guys, marry a English teacher who doesn’t like feminism, 😂). The reality is if women can stop acting like men and embrace there felinity, and there big or little breasts, feet, or mind, then they can always find a husband. it’s about letting you both grow as people and helping each other grow past difficult points in your life. If you are an unctuous bitch, therapy is your goal. Not a living being. Cat women are best left to a job and to vote for Elizabeth Warren. Romance and the love people share with one another makes up good story telling.

Is modern feminism destroying the idea of romance?

Well, when we were “nearly” on the brink of war with Iran, women laughed that they wouldn’t be taken, and then they started to think about marriage really quickly. That’s equality that women don’t want. True equality doesn’t work in all ways. Men and women have very different roles. Men have to attain the woman. The Inferno could be a love story with a woman that Dante never ended up being with. Romance is knowing that it’s not all about Disney Princesses. It’s purpose is learning that two people must find and earn there trust. It’s how some cops, male and female, end up getting married cause they met on the job. What the world expects out of romance is the same trope, but can the trope be placed in modern day when a woman of power rejects the principles of feminism and becomes a house wife? Single women in the work place only make it worse for men. Men can’t have conversations like they did, and while many modern romances start online, it’s a wild proposition, because most relationships need a face to face romance. Unless your characters are building a video game system together, and you both make diverging quests that make your characters move at different times. That’ might be a close enough romance to the Gen Z and Millenials, but to a millennial who likes comfort, and sex, it is often “offensive to women” who hear this. What’s so wrong with sex? Well, there’s no romance, they say. Like the preening teenagers they are. Literature is about women and men helping each other…achieve orgasm. 😂 The reality is there is no modern romance that can help with today and feminism. Feminism is a cancer, and I don’t want to talk about that because feminism is destroyed by preaching women who sound like idiots, or Karens, who think they know better. Yeah, that’s real wifey material.

Would some say love is best when people are married?

Sometimes it’s true. Maybe two people can love each other and not be married? I think it can happen, but is there pressure for people to leave, but getting married is a wonderful, and expensive argument. If both the characters are broke, and they can’t get jobs, why not fool around? It’s not “sanctified” by the church, but if you are broke, there is always blowjobs, licking, and other ways to stop from getting each other pregnant. What makes a relationship work is the willingness to be what you are and perfecting yourself, but also being better who you are. Literature has rarely ever talked about the positives of relationships, but there is always something to earn.

Is literature the basis of love and acceptance?

Literature is to highlight all the distress we have, and Jane Austen is one person who would have found herself agree with Camilia Paglia, because she was a sane feminist. Romance is when two people must “agree to disagree” and know that they are soul mates, or at least willing to accept each other for the faults they have. It may seem like I am ragging on feminism, but not the sane feminists. This ire is not directed to feminists who want equality for all men and women and trans people. But romance is hard to discuss in the 21st century when the world is not ready to hear about love right now. I have no doubt that people love and they want it in books and it should be there. Because I never really followed what genre or literatures definition of romance is, it reminds us that there are new possibilities to feel. To love people as they should be. To give purpose to humans. Love gives purpose in character’s too. In 300, Frank Miller has Leonidas fighting, as the women of Sparta could fight, it was Leonidas’s sacrifice that made Greece unite. That’s another love. A love for freedom. A love to protect the innocent who would have to fight the battles that would come back to haunt them. It’s strength that will send men to there deaths and love that will keep them fighting forever.

Is love private or public?

Love is not exactly complicated. Love is when two people are equal or accept the shortcomings of others, and provide emotional or financial support. It’s the traditional system of a “man goes to work, while a woman stays at home” type, but it’s hard to talk about romance when there’s not a solid foundation in a relationship. Literature proves that when both sides are unequal or lacking they will ultimately collapse (Anna Karrinina) or a failed relationship built out of military strategy (Macbeth) or the political nature of how love is used against one another by the state (1984). Love is a hard topic to discuss when women take sexy “selfies” and then want “respect” from men who cheer them on, but they get offended and say “be respectful.” It’s when those IG models offer no content other than the skinny frame for there charm. What is public about love is when couples share there stories online, but then again, it’s to each person’s favor. Tinder profiles, who say “I’m not on here, hit my snap.” Sometimes those women have real snap accounts, but most of the time, they are e-thots. They want your money, and that’s another takeaway that feminism has allowed this type of behavior to happen. If women want to do this, I’m not going to give you money. Find another sucker, and there will be ten simps who give money for this behavior. Twitch is another reason why most of love is missing. Literature would have expected this to happen, as some would imagine an imaginary kissing booth, but there’s no one there, except a woman who will take your money, but never give you anything in return. It’s deceptive to think that Shakespeare would “approve” because this isn’t love, this is gambling with people’s lives. Who’s to stop a person, who has given money to an online personality, that they won’t go and get there money back from the woman by force. It’s allowed and how women get away with this is women’s ridiculous nature of thot like behavior. If you want to be a prostitute, go be one, but fuck guys in real life. Fucking is taking a chance, but robbing men online should be a crime against humanity. Love in literature is concerning the private, all the above means public, and making money off emotional promises never kept. It’s turning against men when they won’t go after women in real life.

Sounds like Science Fiction?

People will pay for a service, no matter what guys want. If you have money, then you can do anything you want. Paying for women makes a great story. The destruction of emotions when paying for company that never comes. At least a video game delivers, even if it might be a shitty game. I don’t want men to stop dating entirely. Maybe just look for Conservatives if you want to get married. Hey, they are likely virgins and they will worship you if you marry them. As Johnnie Taylor and Kiki Swinson in her title book named, “It’s cheaper to keep her” never sounded so true. Literature is about the expansive knowledge of romance, and the deceptive ways that fraudulence in technology defies love. Blade Runner 2049 had Agent K’s love interest as a hologram, and that was close to a love story that you could possibly get in the modern era. But love might involve a microchip now, and women can now finally love men for who they are.

Resident Evil 3 Review

6 Jun

It’s no secret that once you play 2020’s version of Resident Evil 3, it immediately dwarfs the old version in a few key ways. Visually, it does for today what the original release did, and the story is changed to meet some new context. Jill Valentine is the hero of Resident Evil 3, which in the chronology, takes place before the second Resident Evil, detailing events before the second game with characters Claire Redfield and Leon Kennedy come to find the town of Raccoon City destroyed. 

The story follows Jill as she is researching the Umbrella Company and there nefarious deeds, but she is put on probation for defying her superiors. When she is called by Brad, her partner, the titular villain, Nemesis, arrives through the wall, smashing her to the ground, and she has to run away as she is pursued by the biological weapon, Nemesis, who stands about seven feet tall, and pursues Jill relentlessly. Its motives are unknown and that’s what we like in a villain. 

A never ending boss that makes the game worthy of more than a few play throughs. Carlos, a fan favorite of the original is toned down from his macho manliness as he tries to console her as he replies, “personal space. I get it.” It’s an omission from the original that feels out of place with the context of the 90’s. Refitting the game to meet modern standards is playing to each generation of creators, but it’s not true to the original source. Just imagine trying to change Casablanca or Gone with the Wind to meet modern standards, because that won’t work. 

Jill has to open safes through clues in the first level and it helps her gain new weapon mods for her Glock handgun. Adding this detail is a key refinement over the original, since the Glock was the 90’s was the icon of the times. She is given a lock pick to gain access to lockers for more ammo, and in the assisted mode, she is given a AR-15. Puzzles make a return but in very small forms. It’s nice because the puzzle aspect of games is fine, and gives you more reason to explore a game, the puzzles of the older games, do not all make a return. 

Jill is beautiful as she is returned to her Asian American roots from the original novels tie ins. What the game does give you is a reimagining that invites new players but allows to perfect the original’s flaws. The dodge is easier to use and if accomplished in the remake, it can give jill a boost and assist an easy head shot. 

What makes Resident Evil Three is the attention to detail and the tension when Jill is pursued by Nemesis. It’s amazing to think that some only play it for five hours is not necessarily about what is missing, but using so much story in such a short play though. A beefier story would have derailed from the originals short and action packed tension. Jill is beautiful as she runs from Nemesis, and wounding Nemesis can give away upgrades to Jill’s weapons. 

The round up of villains should be categorized with the threat level designed for each weapon. The regular zombies are best treated with a bullet sandwich from the Glock 17, but it’s best for headshots. If every enemy zombie has a face, shoot it. If playing on a higher difficulty, it’s best to avoid them, and save the ammo for when you need it. 

The shotgun is a worthy companion throughout the journey, and it should be left for Nemesis. Anything that’s bigger than a shotgun should be left for the tougher enemies, and Nemesis. A shotgun is best for zombie control, spreading the herd thin. But if playing on a difficulty higher than Normal, the enemies get tougher, and you should avoid contact or wasting your ammo on the lesser zombies. The Grenade Launcher should only be spared on Hunters, large reptilian creatures that appear in the early part of the game in the Redwood area. The Grenade Launcher and the AR-15 are the weapons to use when there is no ammo left, but it’s fun to use the AR-15 and Grenade Launcher, and ammo becomes difficult to find on the higher difficulties. The AR-15 is gone from Standard mode on. 

It’s deviant to say this is better, because the experience of playing the original is missing for this writer, but it does provide a newness that might be missing from a veteran player’s experience. To speak ill of the original is not my intent, and would encourage anyone to play it after to get the full context or analysis. Or watch it on YouTube. 

As the story progresses, the player is invested in Jill and Carlos as they are trying to find a way to get out of Raccoon City, and find a cure so that it could save Raccoon City from being nuked. There are many positives to the game: reimagined graphics for a new age, a beautiful face texture that gives Jill more depth and natural beauty, the cut scenes are tense and they give a sense of curiosity to the game. While Veterans know the changes of Carlos’s behavior and the lack of spiders from the original are missing, my noobish sentiments toward graphics and brevity in story, are of a cultish variety. 

This is definitely a must buy for the times, and will keep you busy before the release of Last of Us Part II. While I never played the original, or was old enough to get the full context of the original, the graphical change is astounding, but if a player likes brevity of a game over an expansive open world, then it’s an immediate buy. Fans need to play it too, but they already have, and they don’t need my permission to do so. The reason for the late review is that my opinion is not to be met by public demand. Being late for me is, as Gandalf said, “arrive precisely when he means to.” The game still stands as a beautiful reworking that can introduce old and new players and heighten what made the original interesting. But is it worth the sixty dollars? Just wait until it is on sale, because some would see the lack of a robust narrative a weakness (is not worth it), while I saw the brevity as a relief today. I’m glad to have played it.

Journey Through literature: The Horror Genre

5 Jun

Can you think of a time when you were scared and would force you to want to even look at the ugliness human beings do in fiction and explore that?

I think it’s when I was very young, I was afraid of scorpions. And rats crawling through toilets while you are on the toilet. Snakes. It’s worse when you know you aren’t facing up to shortcomings. Barton Fink is a horror movie for writers to never enter into making movies. It’s fine now, Miramax is dead so no one can be blackmailed. jk. But I’m not the type of person who thinks that horror can be easily defined. It’s learning that you have no control that can be one type of horror related story. Being in a abusive relationship is a horror story. It’s conceited to think that all abusive relationships make great horror, but maybe that’s because Rosemary’s Baby killed that idea for anyone else, because it was so good and the instant someone thought of it, it had a name. Like the Exorcist. The Exorcist is the modern version of all demonic tales, making up a modern detective story with a spiritual thriller. it’s more than disjointed to think that what we have today is horror that follows all the tropes that were imagined before, but to truly take them in is to learn that you have to find out the ugly truth about the world.

What is that?

Truth is far uglier than the lies we tell ourselves. It’s when we say, “Little Benny will get over his alcoholism” but he only gets worse. This is a personal subject for me. No family is perfect and neither is mine. The character who is an alcoholic is one of the many tropes of modern horror. Jack Torrance from the Shining. Modern interpretation of horror is also one of personal vendettas. Forged by horror is the unmistakable bond of death and the idea that Jack Torrance dies and succumbs to the will of the ghosts, ending up dying in the process in the snow. What we know from the series is that the hotel is destroyed, which makes no sense to have a sequel. But horror is also one of cathartic experience. It’s in science fiction body horror too. David Cronenberg’s early films are rife with interpretation of the soul that manifests itself in horrible contradictions. But horror is to realize the contradictions that we manifest in our lives. It’s that annoying co-worker that won’t stfu and you just imagine if you had a gun pointed at the side of his brain. It’s like putting out a dog who is about to die. They won’t care. They are just another broken human being and sometime death is the easiest option to think about when you have to listen to there dumb conversations. They think they are like you but they really aren’t. People protected in there job are like teachers with tenure, you can’t touch them, so you think about how there brain and your bosses brain might look on the wall. You would want to bring a polaroid camera so you can take a picture of it and wave it with such beauty. Being made into a villain is often far more heartbreaking too. Like Joker (2019) with Joaquin Phoenix. It was a reminder that not all villains are forced into being a public figure with blood all over there body. It’s knowing that people with mental illnesses have no choice but to be different and they all don’t have to end up like Joker, but becoming a villain makes a more interesting story. Being good is for people who are limited and they have to reject what they don’t know. Once you humanize a villain, it changes how people think about what a villain or anti-hero actually is. It changes with each decade. Some simple people want “good versus evil” and I just have no option but to say, “No.” If that was done, Joker (2019) would not have worked in that logic. It’s very rare when people can do very sublime and subtle things. It’s a true master that can destroy all preoconceptions of what people see.

Why should people see things in a subtle way?

It’s for there own good. Sometimes we need to say things that are over the top too. Masters know what they can do and they must change in order to find a new way of expression. Sometimes people need to tell fantasy stories of good and evil. Horror is based on the idea evil will win. It’s a simple conceit. It’s about how sleeping beauty wakes up into a raging bitch with no filter and she has to have an ark in how she becomes it too. An evil person must have the breaking points that even a young hero must need in order to become better than he has. It’s every bad thing you want happening that will make the unsuspecting villain become what you want them to be. Or anti-hero. But victimhood is not a message that horror should be represented in Horror unless the character is going through an arc to lose everything they have. It’s to represent the breakdown of the individual and adhering to the belief of fear. It’s fear that makes such interesting cases in fiction pure and wonderful. People are afraid because they don’t want to see what they are afraid of, and if they knew how to combat it, they would not be afraid at all. They would choose to be who they are and not living by other’s rules. It’s fear that pushes people into a vulnerable position. It’s deception that makes a villain persuasive and his depth in human persuasion is also helpful. It’s when the victims in a horror story know the evil person is lying but he is so seductive when he speaks. The animosity of men who are cunning never show there true anger, but hide it with suggestion and persuasion. It’s never the same once you know what someone thinks of you. No one likes someone once they are criticized, but it’s not to be confused with helping people who are sick and those who are trying to poison there lover against there family and make them think otherwise. The Secretary is a great example of a submissiv/domination relationship where it is portrayed in a positive light, but others around her are trying to convince her it is wrong. It’s possible to note that all children at some point have to become an individual and find there own tastes that do not match up with there parents. it’s not healthy to always think you are like your parents because it doesn’t allow you to grow and be different and establish your own traits. A good son or daughter would know what tastes are there parents and what there’s are. Everyone must be open-minded to realize that people have different tastes but the reality is that this kind of thinking is what makes a great villain is that they are a hero. But not in the case of the Secretary. Horror is a response to the time in which people are living in, but in most cases, it’s the victim of a rape crime who thinks it’s within her jurisdiction to kill men who want to rape her, but they are murdered by the woman when it wasn’t the case. It’s a horror story when the good guy thinks they are right all the time. They have no bounds of reality or willingness to pursue a life of peace. It wouldn’t be a horror story if that was the case. Horror is not just an abstract idea. To confuse such who know when it’s the embodiment of horror and the main character, who thinks he’s good, knows he’s not anymore. They have become the thing they have fought to destroy, as Obi-Wan said in Star Wars. Horror is learning that you cannot change. You don’t have the will to look beyond the individual pain but learn when you must turn your hand against the aggressor. It’s doubtful to think people can change, which they can, but reality is not art. That was tried for years in independent films but it has never worked. Midsommar is not a good example of a horror film. It’s a boring mess of a film that was overhyped by the studios. What you think is horror might just be an everyday occurrence.

What are some everyday occurrences for you that make a horror story personal?

When a hero cannot find a job. When they are looking and sending in applications but they seem to be not the best candidate. Being rejected by literary agents is one thing, but to not be able to make a living makes the world a strange place. it make searching for jobs another chore, and the hopes of getting one, and pleasing someone in an interview turn to apathy. It’s knowing that mistakes you made can never be forgiven. When the hero tries so hard to please people that he becomes an alien upon his making. He hates the very people who help him. Having to see his bosses look down at him asking for help when they weren’t ready to train him. They didn’t care about his problems and they want him to just do it flawlessly when they half assuredly train the person when they no longer persuade him he is worthy. It’s probably not the best time to think about it, but when bosses think they can bully you about politics and you just sit there silently not able to speak in opposition, you are left with no option but to wish a heart attack upon your co-workers. That’s better than a plague. It’s learning that the world doesn’t want you anymore. They have no use for you that you lose the purpose to find a job and think you are worthy to work. When your family bugs you about it and you put in applications every day but it doesn’t matter. You are the very thing they choose to hate. When they don’t want to help you and you are better off dead. I have felt like this and so has everyone else. When the world doesn’t care if you are white, and they hate you for existing. It’s making a villain where there doesn’t need to be one. To be called “racist” will only make that person believe he is racist, and choosing not to be, is what makes him redeemable. But horror is knowing that the outside world will not care about there plight or thinking they can understand the will to become better. To label someone for there faults only makes the wisdom of men seem like charlatans and there voice hollow and disjointed. It’s the family members who you don’t speak to who lecture you when they think they are right. It’s when you stop speaking to them once you get a job that they wonder, “why doesn’t he talk to me?” If people learned when to shut the fuck up they might just be the better person. Learning to never speak is the way of victory. To give such hollow messages of “get a job” only makes the character learn to despise and never say what they are thinking. Then they know what the villain sees in the hero. A false leader with words of tyrannical opposition and no answer that could help them in a real world way. It’s there misunderstanding of being good that makes a villain see the hypocrisy in a good person. They have no answers and they wish to pretend they are good. Maybe it’s when life hands you nothing that you know you must take things. To survive means little to the rich. They have there millions, and the villains, who are fired constantly, whether by skin or inability to do the job, they are pushed to become what they most despise. To learn you are alone and the people who care about yu have no way to help. They are the hero’s without answers. A typical power struggle that makes the will to listen to the powerful more than irksome. A boring dispute between the faithful and those who don’t believe. For thinking too much. To know the system is rigged and there is no more space for you. When you have to learn that you hate all who have come before you. To become yourself against the powerful hero’s who have all the available funds to get ahead in life. Or the better grades at a private school means more than public school with good grades. You are last on the list for the dean of Harvard. But what is learned from villains is simple. They are people. They are born to learn the hard way that life doesn’t want them. They are never going to please anyone even when they show up early to work. They try to do everything there boss tells them to do, but with each day, the hatred against your boss grows. You know they are not learning the same things. They want you to suffer and they push you to quit. They tell you to go back to school in there office. Giving you subtle hints. it’s learning that you have no more options. Villains are only unforgiven when they know that the system doesn’t want them as they are. To learn to be like society when it’s flawed fron the beginning. To take away a man’s pleasure in life might as well be akin to a firing squad death. To take away such purpose from men is learning that you have lost the crowd. And to label them villains is the will of the corporate sponsor. It’s power that the good guys are obsessed with and they want to destroy those they see. It’s goodness that holds such people hostage. Sexual frustration in hero’s does too. They are born to live with there ugliness but the villain knows he is beautiful and wants the same thing. To hate such villains is to admit they are right. To bring up every past sin is that the hero’s are hiding the skeletons in there closet. Your parents hate the difference in you so you must leave to find your own way. Hero’s are just villains with the ability to hide away there sins and drink away what little value they have everyday. Drink away swine, because I know who you are.

Who are they?

It’s the everyday struggle of finding who believes like you and learning to push others out. But again, silence is just another way of not having a personality. A silent worker is no better than a bruised dog. It’s just following orders in a corporate structure. They have no place in the world. All they know is the rules and they follow them. Villains know when they must pursue what returns bias without causing such interference. Villains are the way into life beyond the hell of everyday. To think “oh, maybe black and jewish people only have the ability because they are gifted the chances in society” and hard work is only gifted to societal mores. To protect a criminal means to gift them the ability to keep up with the crimes of there disjointed thinking. Hero’s are the reason why most normal people shoot up there offices or commit suicide, because all they know is being stuck in a cubicle. Office Space could be a horror movie if it focused on Milton, and not the rest of the cast. But then again, humanizing a character who is misunderstood can be seen as villainous. Taxi Driver is another example. It’s when you no longer persuade such fear to control you. You look at robbing liquor stores as a means of survival because they wouldn’t hire you to work there. Learning that society is against you is when white people have heard “learn to code” more than once. it’s defiance that will put such anger in perspective. When the rich have never known such failure and they lose money in stocks, no one cares. it’s through malpractice that a villain knows how to take advantage of the system because he is not offered the chance to be apart of normal society. To be told to do something when he doesn’t want to. To learn that you are cutting yourself not out of pain, but pure enjoyment. A villain takes part in self mutilation because he doesn’t care if he lives or dies. He is human and he is fully aware of what could happen if he dies. A villain knows that God hates him from the beginning of his birth. He tries to be apart of society and like the things people like but they don’t care. They have nothing to offer. With no dissenting voices, all we have is silent eunuchs thinking the same way with no real conversation. When your co-workers gang up on you when you have a dissenting opinion, it turns you against such conversation. You hate the very air they breathe because they return the hatred too. If black people know how to use white guilt they can control the conversation. To laugh at black suffering makes you a villain. But if all you hear is black people laughing at you, why not laugh at there suffering. Then the rational voice says, “That’s not good you will be ostracized from the group.” Using race against white people, and those blacks who defend white people, as a tool for race baiting, it’s the quiet conversation of who becomes a villain. To use such anger against people is when villainy is formed within society and the times they live in. Horror is based on who can survive within the grey area of life and know it’s learning how to tune people out in the work place. Putting on ear phones only makes the insufferable co-worker talk more, and they don’t get the hint. Again, horror is born out of the presence of a society that will call people evil, and they were never born like that. Society, especially concerning white guilt, is another evil built into society who will think blacks deserve everything. It’s insulting and horrific to gift people what they want because they will not work to earn it. They will not want to become better if they know there race and skin color can get them out of working hard. Horror is built out of superstition and also the will to see what is not there.

What do you think people see that is not there that people see?

The afterlife is a contradiction to the atheistic viewpoint of “there’s only one life.” What I have found is that the afterlife is spawned to show that there might be an existence far beyond what we know. Dots in a picture are proof of a ghostly presence. Sometimes it’s ghosts that can show who we truly are. Ghosts are the experience of a situation you can’t explain. Sometimes the devil is what you want to see, like in politics, but the unbelievable can be heard from women in churches who pray but they have never met a devil that could make them truly afraid. Sometimes that woman praying is a woman who wants to destroy a man’s life and learn his inner ways and then sue him with the intent to put him out of business. Women offer only what they can do with a skill, as most Americans can do, and most women are apart of royalty and there bloodline is the will of men who want her bloodline, but know she has nothing to offer. A horrible woman who mistreats a man, and can have sex with his best friend in a demonic ritual can make a man know that they have met such a devil. The devil has a penis and a vagina, and can form whatever shim likes. The devil knows the will to appeal to men. Horror can exist in the will to see something in very simple terms, but to understand it is learning that the complexity is far beyond women’s knowledge. A woman can start a twitch account, drawing and painting, to go full blown Wiccan and mesmerize men to pay her money because she never had talent and needed the devil to make her interesting. I dare you to write that story and think that’s not terrifying. It might just be passable as fact. It’s the world that lets women get away with what they want online. Shearing men’s will to live is worse than a woman who would kill a man. Draining him of money is the true horror a woman can produce. She was no different than Daisy in The Great Gatsby, but she would be a twitch thot today. A whore that makes money with painting her tits. Women know they are arbiters of evil when they know they don’t have to learn a skill to become evil. Some men would just call that being an independent woman, but most men know they win against those women when they end up lonely cat ladies and have sex with there dogs. Horror today means learning how to push such temptations away, and there are some who don’t want to. People need to feel it in order to know what they have done wrong. Some have to face jail time instead of reading a situation. Maybe pursuing a dream girl will lead you down the wrong path. Horror is not the despair of having a talent and putting your art online, but paying women for nothing in hopes of winning her heart. It’s a modern fixation. Misleading horror is thinking that Republicans are evil and they want statewide oppression. It was Malcom X who warned you about the guilty liberal, and they are probably guilty white females who must stick up for black men when they have no idea what suffering is. They have a nice office job where they have one black person working on staff and she’s the only white woman there so you must say what the office thinks. It’s women held hostage by minorities is also a modern horror story. What Horror allows you to feel that either as a man or woman, the character is a punching bag, and you must show an aggressor destroying another’s life. Horror is known for the subtlety that pursues the weak and wants to destroy them. It doesn’t take a horror slasher hero to know that they can destroy men’s lives. All they need is a vagina, and a twitch account, or a guilt complex.

Why do you think the modern era is harder to write about horror?

Horror is an evolving concept. Horror is always made up by certain times in the literature or movies made. Movies that have you looking into someone’s screen takes no ingenuity. At some point, it gets boring to watch someone experience horror on the opposite end, in a mocumentary format, like Paranormal Activity, but even they had a loose character trope that was still recognizable, but faded when it tried to reach outside it’s normal boundaries. What horror means today in a digital world is that Freddy Kreger would be a digital menace than one of the imagination. A recent Friday the 13th remake didn’t seem to find the same audience because boomers really liked the 80’s horror films. While David Cronenberg dabbles in and out of the science fiction genre, with Existenz, being a subtle Cronenberg horror masterpiece, and almost promising a sequel while Videodrome never was given the chance to blossom into a franchise. You can fuck it up like with Scanners and the Fly sequel, but we won’t talk about that. Some movies are ruined with sequels that rarely involve the original creator and the same themes the story teller was working with. What makes Horror transcend is the idea of knowing what is truly terrifying. Realizing that you might not be able to do something you’re expected, as you might be a cleaning a house, the haunted house trope can be taken further with the creative freedom Horror needs. Horror can not exist on a single trope of ideas that won’t survive. Get Out, Jordan Peele’s film, was instantly popular but it could be that it was overrated and much of his films after only receive standard critical fanfare, show that a filmmaker might only have to be good once. To make it in a artistic career is a crapshoot. Knowing fear is different when applying it in art. It’s maybe turning off the lights and listening to creepy music to help along in the process. Maybe it’s internalizing the anger you feel and learning how to use words in order to find calm. The will to create in the middle of destruction and chaos is why art must survive, There is no desperation when you must learn that Horror is inescapable. Doubt is learning that you have no will to pursue the regular invitations of life. When you are considered ugly and lead around by the nose, dating feels less rewarding. If all that guys want is someone average and has no gag reflex, men would be in a better place. Horror is when you realize that money can give lots of access to things you never had before. You have to make concessions for what you want. Horror is about adapting and knowing how to survive, but there are miseries in the world that come with having everything you want. But there is more when you don’t. Learning when a character has nothing is when they have no problem with robbing someone they didn’t know in order to feed there families. It’s all honorable until someone dies. But that’s what horror is. Horror is learning that you are not in control of your life. Maybe working on Wall Street turns you into a Jeffrey Epstein con man who knows that he can get money because that’s all he cares about. Horror is about learning to find what only makes you afraid but also learning what can make society tick. Some people are terrified of clowns or they are terrified of needles. I hate having my eyes examined. That’s how some people feel about going to the dentist and my mom is a dental hygienist. So, learning how people are terrified has always been inside me. Imagine having a room growing up where you didn’t have a lock on the door. Where you had no privacy, where you couldn’t keep people out. It’s learning that you have no power, and some go to suicide or those turn to violence against the aggressors. But most acts of violence are a last act when talking doesn’t work anymore. Abusive parents are usually punched when a son gets older. They know it’s within there control to punish there abusive parents. To kill your abusive parents, within a horror story, makes the wheels turn. It’s not an original idea, but this is just one of the many tropes. Imagine you have to put on music to keep your parents screaming out of your ear. The quiet person doesn’t shoot people up, it’s the one who is picked on, because he has no friends or girls to talk to. It’s learning you have no real friends and the friends in a Stephen King book, It, don’t exist. It’s poison to believe that people care. it doesn’t make a good horror story. It’s when you lose that one person who does understand and they can’t be brought back. Drugs and booze become the best option. Why is this so depressing? This isn’t about the hero, it’s about the villains. The villains are the hero’s in horror They must exercise there revenge against parents who burned him for molesting children, i.e., Friday the 13th, as the sin of the parents returning on their children. It’s learning that the parents of horror fiction are horrible, and while it’s denied, they will die when they will not believe the horror exists. They will just see you and never once see the monsters in the corner. They want you to work and be nothing but a corporate jack hound. Money is good, but how much money do you need in order to be happy? Does money mean happiness? It allows more vice to continue in horror stories. It won’t stop the darkness from returning. No matter what the corporate media will tell you, but horror is learning when you have no choice but to be afraid, and face a problem in society. Whether it’s personal or societal.

What does Horror mean for the future?

It might mean that Horror may have to go backward to find new ways to scare people, because technology is only scary a few times in the Horror world until it becomes a joke or it leads into sci-fi. What most Horror can do is make the world far more complicated than people like to imagine. People think Horror is the epitome of what was wrong with the world, but it’s humanity that made the world this way, as though it wasn’t there fault. Everyone was a villain at one point in there lives. While it was further uncomplicated, it was defiance that no longer perceives the understated. It’s the understated machination that men create that hate there experiments once they gain sentience, e.g., Mary Shelly’s Frankenstein. But it’s the obvious notion of why Horror must remain a perfect condition of whether to return to normal. Being normal in Horror is not what Horror stands for. It’s about embracing the odd and the strange and holding humanity accountable for the terrors they produce. A monster in a Horror film is far more believable as well as a pedophile on the street in your neighborhood. It’s just called something different. Reality is only good for realists as they are alcoholics by nature. They need it in order to survive. They can’t stand the outside world when they get home knowing that there lives could end with a home invasion. Horror confirms what all the smart people know about, and maybe they aren’t college professors. Maybe they are men who are sleeping on the street? It’s possible to assume that maybe what drove men to homelessness is not economic opportunities, but they have reached a conclusion about society that no longer permeates with them. The rigged system of the boss who would destroy his employees in the process just so they can make a quota and they can’t go home at night. It’s hard to work when there are bosses that want to drive people miserable. It’s not hard to see why Communists hate the Corporate structure of Capitalism, and while this is not promoting communism, (which has never worked at all), knows that there is always a rigged position of power. Climbing a corporate ladder is another horror story. It’s about learning how much you can lose in order to find financial stability. It’s knowing that you didn’t have any time with your kids that you worked so hard. What was once good intentions turns the children against there father. The hard worker now becomes the stranger to the family unit. Again, this doesn’t apply to all working men, but it is a scenario that makes the world of Horror a palatable weapon. It’s turning the author’s hatred into reality on those who would wrong him. While Horror might involve ghosts, there is always an existential crisis in the characters. They know they must change to become better or the villain of the story. There is knowledge once attained after reading books and it’s the possibility that all are corruptible in there own flesh as it was sustainable in the treasure of men who did once look like they know it’s the defiance of what was bound by the direct involvement of a creature that would take up such preoccupation. It’s idols who would know there place in the world of horror. Pezuzu, from the Exorcist, is one of them. While the love of Jesus can hold such men to be better, sometimes it’s a man who realizes that he can’t face the world as it is. It’s disregarding the nature of men who know they have yet to carry on as they hold onto such memories that become a wilderness to explore. The man who has a cat is instantly a man of fewer means, as it was denounced from men who did once look like they share the forgotten memory of men who once allow what is already there. To deny pleasure is what turns men into monsters. It’s a boring spouse that makes husband look elsewhere for conversation and meaningful sex. It’s certainly a boring woman who would say the opposite but the lack of communication and sex can make a man seem deviant. It’s a woman who is boring enough to only never be sexier and lose weight for her husband to make her attractive. Horror is what men know and women ultimately ignore. Only seeing the good and ignoring the bad doesn’t make the worst parts of humanity disappear. You don’t give a homeless man money because you feel good, but there begging makes you feel guilty, and it’s only supplying his will to never once better himself. Maybe this is harsh, but in Horror, the reality is that men who know the way out of misery are those who have hobbies and they can process the misery of life within works of fiction. Fiction is where most men reveal there true talent. Co-workers only care about work and you should find people to talk to outside of work. They don’t share your opinions.

What should a horror writer do?

You should read lots of books and own lots of guns.

Why?

Because what is out there is not pretty. It’s defiance that will show the armed thugs that you know how to ruin there day. They have no choice but to rob you. You think being good is going to stop people from robbing you? No matter what nice area you think and feel, and how much money you donate to some African boy in the mail, it’s not going to stop armed thugs from robbing you. If you have not felt this way before you will know it once you enter the city. As I always say, “Once you hoard, you are easier to rob.” Armed robbers only want what you have and they didn’t want to earn there way through life. Maybe they have a family too? It’s easy to think in these terms and sometimes Horror is writing about the men who are robbing people. Both sides can be examined in the destruction of society and while many would say it’s impossible to defy the logic of such robbers, it always turns wrong when they have to kill there victims. It’s criminals who know they have no choice but to rob and they have tried everything else. It’s like the fallacy of inclusiveness.

Isn’t inclusiveness supposed to be a good thing?

It really isn’t. Inclusiveness is a utopia that defies the logic of normal thoughts. It’s allowing you to be apart of society on other’s terms. It’s a TOS that no sane person would do. It’s the notion of being included when the lefties don’t care about others. It’s indignation that turns men into such arbiters of justice and they are pursuing the flesh of men who they despise only to consume there identity once done. Inclusiveness would work if society agreed it worked. Inclusivit, even by the lGBTQ community, makes it sound as though there are more rules when the LGBTQ activists fought for the right to be who they want. Imagine being a gay person being told to put your pronouns up, like it’s a badge of honor. 1.) It shouldn’t matter what your pronouns are. It’s almost like wearing a star of David in Nazi Germany. The act of inclusivity is the reason why most of the lGBTQ secretly and openly despise the politics of the left, and so they are learning what is prominently, the party they belonged to doesn’t appreciate differences of opinions. It’s a weapon used against them, and they should be fearful. What if we looked at Jordan Peele’s Get Out as a film that primarily targets leftists who know they are kidnapping black people and they are sympathetic to black lives but they destroy them, resulting in our film. If perceived any shade to the right, that would be dangerous for the world we live in. Jordan Peele would deny it as he saw it as satire but for him to create Get Out meant attacking the very hand that fed him. In the Obama era, this film could be talked about, but if we see it any shade to the right, then Get Out is not a satire, but a sad reality of leftists and there secret hatred of African Americans. It’s no secret the left think of African Americans as there tools to vote and then never talk to them again until it’s time to vote. If Jordan Peele knew this to be true, his Oscar would only prove that he was right. Lefties truly do see African Americans as a burden on the liberal party. It’s not a community of love, anymore. It’s a party of hate. I didn’t want to get into this, but seeing how the Hollywood community protected Jeffrey Epstein, it’s not out of the realm of impossibility anymore. This is when Horror becomes real life. And maybe to some in the know in Hollywood, the horrors they knew were always real. What is ultimately perceptive in the nature of men who know what reality is afforded to there cause, is how we learn what is real in the end.

What is reality now?

Reality, can differ to a lot of people. Horror to a rich person is knowing that they won’t be able to make money. Horror to a poor person is never being able to pay bills on time. Horror to a homeless person is the reality of both the rich and the poor. A smart person in a horror film is jaded, which will always mean he will survive in the end. What makes Horror a fascinating concept is the pressure once looking like they share such perceptions allowing nature to take its course. Animals have no concept of horror, as they are embodiment of survival over centuries before man entered the picture. The perfection of Horror is ultimately accessing the beastial nature that produces such perplex thoughts. It’s abandoning what you know in order to find the truth in a situation. But “my truth” is another fallacy. Those are the people who will die before a horror movie starts. It’s defiance and jaded qualities that will keep a hero together, and the cunningness of the villains path for the hero that will test both hero and villain. If a villain doesn’t lay every trap for the hero and his friends so that they can test there will to survive. It’s the age old question, “who’s going to die first?” It’s the villains traps that can be metaphoric in nature. It’s repeated images that have to be taken to its logical conclusion and either, be mysterious in nature, or explain the logic of the villain or hero. It’s destruction that can make a good man stronger and a villain outsmart the hero’s. It’s why there are so many toads in Mario because Bowser needs pawns to try and destroy Mario. It’s why gamers get so pissed when a level 1 pawn can beat the main character, and it forces the player to “get good.” Dark Souls would be the antithesis to the Mario games, as it is obeying the companies principle of forcing players to be better than they are. Horror must follow that principle too, as From Software, has followed the principle attained through Horror. Horror is knowing that no matter what you face, it’s up to the reader to want to take the journey through a man’s despair or the villain becoming what he must in order to show what everyone could be.

What is Horror to you?

Horror is knowing that no matter what you do, the oncoming hordes will arrive and they will not care. They see me as the enemy and they don’t want to have a conversation. They want to burn the entire world and what will they have in the end? Nothing. Nothing will help them heal the wounds of there inferior mindset. There “us vs. them” attitude only puts them as the villains, and not as the hero’s. Hero’s don’t burn down society in order to find true meaning. It’ takes debate and logic to make a society work. Horror is knowing that I will never be happy until people know who I am, but do I want that type of fame that I can’t even walk outside and put up a gated fence, and become the shill that everyone loves? Do I want to be harassed when I’m out in public and called names and not talk down to them for harassing me? What’s more horrifying for me is fame. Fame is a “second death” because your private life is now over, and your public image begins. To not be famous for what I truly wanted. It’s the concept that fame is another horror that puts such men into a tailspin. Lunar Park by Bret Easton Ellis is an example of this type of Horror story. What horror means to me is that no matter what normal job I take I will never find someone with the same interests as I do. I have to take the left overs of society and never have my soul mate. Again, this is reality and talking about it will help me learn what is real and not. Horror is knowing that no matter what I do I will never be accepted for the work I do. I am afraid of being another number, because a number is just one of many in a pattern in a matrix, where you have no individuality.

Does that frighten you?

It helps me remember that the only thing I must do is to continue the work I am doing, but not at the same rate. Horror is knowing that no one wants to read your work anymore, which is why I try so many different works, because it’s not about being new. It’s about trying new things. The difference is I use the word trying not being. Trying new things is how men can adapt to the changing world. It’s why so many celebrities livelihood are tanking. Stephen King should be smart enough to read a situation, when the political tide is turning, but a leftist doesn’t care what others think, and as I remember being apart of that party, it doesn’t add much to a “conversation.” Laughing at people’s opinions are why certain family members hold them in contempt behind there backs. It’s why there birthdays go unfollowed. But I think what frightens me is that the will to believe in one singular belief is why the celebrities of today are turning into the enemy they fought so hard to become. It’s going to be hard for celebrity writers to make fiction if they spoke out against Trump with such voraciousness. Rich people can afford to burn there own bridges, not independent content creators. It’s a reminder why celebrities are never to be trusted. They have no ideas of there own. They are the soulless cum receptacle they pretend to be. What frightens me is knowing how I can be free to think away from what people think. A lemming always jumps to there death when they know it’s not possible to change. They would rather burn there legacy to the ground in order to believe they are right. It’s horrible to follow celebrities because they were once the youthful spirit who saw what people wanted and they delivered it with such vigor, as they used to be the villains, but then turned into a coporate hack. Corporations are another horror story of the modern era. Slave trade is akin to Corporate buffoonery.

Does being corporate instill another fear today?

American Psycho by Bret Easton Ellis does explain as to why men have a hard time being rebels but also wanting to fit in. It’s not easy to pretend that you love what corporations do. Horror is about learning the will of society, and whether to encourage the storming of the Bastille or the guillotine. It’s societal epochs that show in history what makes the realm of imagination further increase during such stressful times. What corporations represent is the suit and tie formula, and much of what Corporations support is the hive mind attitude. It’s when someone has a difference of opinion that they A. go silent in the boardroom or B. fire you immediately for disagreeing with them. It’s about living under an umbrella that doesn’t care about your life and the will to be yourself. You gave up your individuality for the ability to make money. Corporations, and those who work for them, especially the underlings, know that artists who were once unshaven now have to appear on the horrid “Good Morning America” shows and talk about there work and have to say the right script they were given in order to make money. People like Ronin Farrow know that much of what they say must sell to an audience so some of his facts can be narratively juxtaposed in order to make the story of the Metoo movement palpable. He wants to please his overlords, and the cinematic writing style is what he must do in order to tell his Heart of Darkness journey. But Conrad knew what lurked in reality, and it was worse than any fiction. Heart of Darkness is more about men who know that once they are free from society, they don’t have to return to it. Being a corporate shill is knowing that you don’t have an opinion anymore. It’s hard to live in society anyway, but to have to promote it in your personal life becomes nonsensical. It’s worrisome to see the staff of a Corporation misread a situation. They take every joke as a threat and they are old grandmothers before they even have children. Becoming a hypocrite is a learning experience, and contradictions are made in the break room. It’s learning that you are just being used by your boss when they have no will to be creative. Applauding group think becomes a game of “who can clap the loudest.” Horror is know when you have no more opinions in a work place. To learn you have to obey every single rule that is made, even when it’s wrong. When you are attacked for doing your job. That, for many people, are learning why you don’t join the break room anymore. You sit at your desk and you read Thomas Mann in order to find some peace. The quiet is normal, but many in the Corporate office will no longer see it that way. Being corporate is a horror story today. it’s learning that you have no control over your art and those who control you are your puppeteers.

So, is society just learning about this or has it always been there?

I think Mao II by Don Delilo is just an example of what people knew in the entertainment industry. Those who want to be part of the entertainment world will never talk about it. But Don Delilo doesn’t care if he loses friends over this type of thinking. It paid to be the outsider in his time. What persists today is a culture that doesn’t reward the outsider behavior. Corporate sponsors don’t like there underlings having opinions. They don’t even tell you what’s wrong at first. Corporations want you to die out and they won’t take any responsibility. It’s better when you have parents who hate you because you can tell them to fuck off. A parent who cares but won’t tell you what to do is equally worse. That’s the entertainment industry in a nutshell. The people who fade away are common and they rarely get a second act. Horror is knowing that you failed in life and you have to wait tables for the rest of your life. It’s better if you did just kill yourself. That’s the rules of Horror, but what you can’t mistake is the possibility that you might be happier away from the industry. To be creative on your own and then put it out, because it’s easier. Whether life is hard or not is up to how people choose to live there life, but Horror is always there. it’s always what you expect to be at the foot of your bed. It’s an unspoken nightmare that keeps you up realizing you did it all wrong. It’s more than just a boogie man, but men and women are horrible by themselves. All in the name of justice. A failed system that doesn’t give a damn about them, and while many who would loot and burn, will not find solace at the end. They will change nothing. Rioting will never help, but it does make the mob feel better. They have nothing better to do. But Horror is knowing that even when they are done, nothing will calm them. They will die knowing they failed too. All will fail in the end. All will know the truth when they die.

So, is there no hope?

What do you think?