media

The Two Creative Revolutions: One Continues

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We’re experiencing a creative revolution. Self-publishing technology, POD, and word processors lets one make a novel or comic alone (though hopefully one is social enough to get an editor). A lone game designer or a small crew can make a quality game with common libraries and engines. CGI allows a film like “Manborg” to be made cheaply and efficiently.

This does not mean this explosion of work is one of quality, but it is historically noteworthy. The power to get creative work out and available is accessible by a much wider audience than in the past. To judge by the wok out there, many people are willing to take advantage of this power.

Again, we may complain about a lack of quality, but we’re not lacking for quantity, even if we may wish we were.

We have a revolution in creativity-empowering tools, but that’s not the only revolution. There’s another change that’s gone on, eclipsed by the tools. This shadow revolution, this parallel change, is the idea that all of us can be authors and coders and artists.

There’s been a revolution in our narratives about ourselves.

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Further Elder Geek Thoughts: Maturity

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Last column I explored how conventions were a place where the silly and the serious, the fun and the professional, combined. It was where you could cut loose – and then the inspiration could be channeled. It was where panels fanning over Sleepy Hollow* are then followed by workshops on writing. Conventions are a liminal space.

Serdar, my multitalented friend, noted in response that for many people, when they become a so-called adult, they often limit what they consider the fun they can have. Conventions are spaces where we can actually just like what we like, and are thus valued. Well, like what we like with the occasional stupid argument, but still.

That got me thinking about media and what is considered “age-appropriate materials” – and how such ideas are actually rather irrelevant, misguided, and confusing.

Because when we talk about what media is mature or not, suitable for adults or kids, it’s often meaningless. It’s assumptions without substance.

Assuming we have a grasp on what is “truly mature media” really is a bit immature . . .

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Franchises Part 2: When It Works

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bridge forest trees

So previously I went on why I’m suspicious of franchises, my thoughts codified by seeing the novel “Tarkin” where the Grandest Moff of Star Wars got his own book. It’s not “Porkins: Apocalypse” but then again maybe that exists. I’d rather not find out.

As noted I’m not entirely down on franchises, those extended, unified sets of media and product and more. In fact, I think there’s positive sides to them, especially in the world of literature and media. So for the sake of those of us involved in creating franchises, what I consider the positives.

Yes. Positives.

Here’s where I think franchises can be good.

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