Posts Tagged ‘apocalypse’

DISCLAIMER: Unapologetic Spoilers (If you read on, don’t blame me. You’ve been warned)

My obsession with the post-apocalypse began decades ago with George Miller’s genre-defining films, and the Wasteland and Fallout video games. Enough so, that last year (2014) I published two collections that feature some post-apoc stories (“Treasure” in Morsels and the “Ain’t No Coffee” chapter of Melange[1]) as well as a PA mystery novel, Umbra.

They pale in comparison to the mighty prosthetic strength of George Miller.

Completely skeptical in many arenas, I had been hearing about Fury Road for years, when it was an on-again, off-again project for the Happy Feet / Witches of Eastwick / Babe, Pig in the City director. He explored anime as a possible avenue, and there were brief rumors about Shia LeBouf taking the role of Max’s kid (I’m glad he failed that experiment with Indiana Jones instead). I also wasn’t sure what to make of a Mad Max who wasn’t going to be played by Mel Gibson. Remake after remake shows they don’t often get better, and most of the time are worse for all of the gimmicks and none of the story-meat.

So, I watched the trailers, and wasn’t completely turned off. Good sign.

First, the movie NEVER LETS UP. There are scarce moments to breathe, and the “slow” points in the movie don’t really drop its pace. Like downshifting, but the car is still rolling a pace that could snap your neck if you braked too hard. Except for an extremely short introduction in the very beginning (rather like The Road Warrior, but without the montage) you are dumped into the chase. Period. Miller is a master of showing, not telling, with only one very tiny, practically gasped “info-dump”. Otherwise, you glean the narrative organically as the story unfolds through action. This IS a car/rig movie, however, so those of you who just wanted to see souped-up, weaponized and apocalyptisized (yes, I just made that up) versions of vintage cars, look no further.

It also gives no quarter—just when you thought you came up for air, you find yourself smothered in dust cloud. Not everyone gets the happy ending, and one of the most heart-breaking moments in the movie comes in one of these gasps.

Anyway…

Storytellers and directors, take note: THIS is the way to do strong women in movies. Don’t insert them where they don’t belong just to 1) appeal to a young female audience and 2) bring sex incidentally into a film. Not that there’s any sex involved, at least not overtly, and not in the act of pleasure kind of way. Mostly, it’s for procreation. Or lack of. (the chastity belts worn by the brides are positively feral looking, although I think I would have kept it on until I reached my destination. Talk about your rape deterrant!). Believe it or not, there is a tiny romance subplot between a bride and one of the half-life War boys, and it’s handled a little too roughly to start, but it “moves” into its own. But the women here are strong, supportive and determined to escape and survive without having to be glammed up to do it. I could easily see myself as one of the Vuvalini (assuming I would want to survive in a post-apocalypse).

A few gimmicky moments exist to play up on the 3D version of the film (most notably the shot near the end with the guitar and the flying steering wheel), but these can be forgiven. George Miller always did have a little fun in his films, with the odd juxtaposition of the ultra-violent and quirky humor (see the exchange between Papagallo and the Mechanic).

Was there a soundtrack? Yes, there was, but the frenetic energy is so pervasive that the “music” is lost. Except for one well-placed, drop-of-the-bass dub invasion. Thanks, Junkie XL.

There are plenty of moments that call back the older movies, such as when Max, wielding a short-barreled side-by-side shotgun goes to blow some guy’s hand off and the round fizzles.[2] There is a moment when one of the brides is playing with the innards of a music box.[3] Hugh Keays-Byrne, as everyone who knows Mad Max knows, played the Toecutter in that film.[4]

Toecutter2-1

There’s even a momentary, overt nod to another director’s film, The Dark Crystal, by having people on long stilts very much reminiscent of the landstriders ridden by Jen and Kira (don’t have a still from MM:FR, so if you want to see it, BUY A TICKET!!!!).

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Count on George Miller to introduce characters with medical issues and/or prosthetics. We know the post-apoc “look” which he created in The Road Warrior went on to infect 80’s hair bands with the feathers and football gear as armor, but his inclusions called on his former career as an emergency room physician. In Mad Max it was the young cop forced to use the electrolarynx after his chase of the Nightrider leaves him with a shard of windshield glass in his throat. In the second, the most notable is the Mechanic, not confined to a wheelchair but held aloft by a cherry-picker like device cobbled together to get him around the equipment. In the third, there is Master-Blaster, a duo whose brain makes up for his lack of stature, and the brawn of which he rides to make up for his weakness for which he serves (and loves) paternally. Then, there is this movie, when it becomes a staple. Imperator Furiosa is the first notable, with her prosthetic arm, and Immortan Joe of course, but then there are the myriads of those with tumors and missing limbs, etc.

Tom Hardy’s Max is an extremely worthy successor to Mel Gibson’s Officer Rockatansky.[5] There’s more than a little nod to Bane there, George, in his and Immortan Joe’s get-ups.[6] Enough said.

latest Hugh-Keays-ByrneImmortan-Joe-Mad-Max-Fury-Road

So, this one is already going to be on my shelf the moment it is released on Blu-Ray.

AND… I have heard there is already a second/fifth one planned, called Mad Max: The Wasteland. I, for one, am looking forward to it

 

 

[1] Which are available for free on Smashwords, and possibly Amazon if they caught up. Read them and let me know what you think!

[2] From The Road Warrior, during the rig battle, when Max discovers the shell he picked up in the beginning of the movie from the dead man on the “Meek Shall Inherit” truck is a dud.

[3] Also from The Road Warrior, and also during the beginning after the battle with Wez, when he finds the music movement and later gives to the Feral Kid.

[4] Calling up of course that George Miller borrows actors from his own movies as well. I address this in another post, here.

[5] That name shows up, by the way, in House of God, Samuel Shem’s novel about a teaching hospital. George Miller finished medical school before he became a director, so might have some interest in reading that novel. Coincidence? I leave you to decide.

[6] Then again, isn’t Bane a little more “Road Warrior” than “Batman” anyway?

I fight through the gila monsters, hordes of raiders and a few desert dwellers, turning them all into a thin, red paste in order to retain my claim to the treasure tucked carefully away inside my backpack.  I’ve been waiting for this for ALMOST 30 YEARS!  At last, the prize is mine!

As I reach my cozy little bunker, far away from the radiation zones where my Geiger counter sits silent instead of clacking away, the excitement and tension are palpable in the cloistered air.  Booting up the old kitbashed Commodore 64, I remove the carefully wrapped package, pop in the disk and proceed to install WASTELAND 2.

*****************************

So I purchased this some time ago, but my writing schedule did not permit me to play it.  I admit freely that I can be easily sucked into playing a video game for hours, but I have plenty of self-discipline to not let it turn me into the freak that lives off of cheese puffs and Mountain Dew in their mother’s basement whose only exposure is a trip to answer the door when the UPS or FedEx guy drops off that special collector’s edition Mad Meltdown Mayhem III.  However, I had been eagerly awaiting this one, as stated, for 30 YEARS!  Not that the Fallout series wasn’t fabulous (all of the games are), but Wasteland was the one that got me started, back in the day.  I was a young girl then, and when my brother bought the game and installed it on his Commodore 64 (two disks, double-sided, had to be copied*), I couldn’t wait to get my fingers on that keyboard.

And so it is…

First, I made a team loosely based on my characters from Umbra.  [The following may contain some SPOILERS, if you haven’t read the novel or played either of the games.]  There’s Shaw with his beard and boonie, Mance with his youthful stature and mussed hair, without the robes he wore in the novel, however.  And there’s Vera.  I am absolutely delighted to say that within three minutes of starting the game, she had her goat following her.  Now, Aberforth isn’t Casey, but I can’t get everything I want.  And to round out the team, I included hefty meatsmasher Deergut to give my team a little heavy weapons and brute force.  Deergut wasn’t in Umbra, but he will showing up in one of the sequels…

 WL2 Umbra

It was nice to see the “old faces” in the game, namely General Vargas (‘Snake’), Angela Death**, Thrasher and Hell Razor, and sadly, Ace as a corpse. Makes me wonder who else I am going to see***…

What also got me excited was that they tried to stay true to the locations, as well.  The Ag Center map is much like the map from the original Wasteland, with its desk area at the front, the long corridor in the center and the two garden areas off to the side, complete with the satellite dishes. The Ranger Center, now moved to the Citadel where they originally fought off hordes of evil nuns, even has the museum room with the Secpass in the display. (I guess the Quasar key you found there was left behind at Cochise.)

As for the soundtrack, they get extra kudos for bringing in Mark Morgan who created the music for Fallout 1 & 2.  Anyone who reads me knows I am very picky about soundtracks for games/movies like these, but I can’t say enough about Mark Morgan’s work. “Radiation Storm”, the track played during the Vault Dweller‘s trip to The Glow, still gives me the chills when I hear it.  Talk about creeptastic.  If anything, I am looking to progress through the game not just for the storyline and entertainment of playing an RPG, but for the music Morgan brings to the game.

I was really happy to be playing an isometric style game.  I loved the original Wasteland with its sprite-ful overhead view and the combat screens with portraits and descriptors (note that ‘thin, red paste’ I inserted above. And don’t forget to bring the blood sausage!), and I really grew to love the visuals of Fallout.  This game is no different, giving it a retro but not too retro feel.  I am able to accomplish a lot of tactics that I enjoyed setting up, like the crouch and headshot (headshots! woot!) for my sniper in order to get the ‘party’ started, and I like the ambush function.  My only gripe with that feature, however, is that they ALL shoot/aim for the same target on the ambush.  I wouldn’t mind having a simple “wait” so that my sniper, for example, could use her turn on the high-value targets instead of the fodder that can be cleaned up with a club or a simple burst from an SMG when they wander into firing range.  If they change this in an update (which they may already have, but my internet connection is spotty so getting the old computer to a place to DL them is a trip rather than a normal occurence), I will be one happy camper.

I could go on and on, but I think a full play-through will be necessary, and probably more than one, since the very beginning of the game sets it up for multiple playthroughs with different outcomes.  I’ve been having a grand time getting in an hour of gametime a day, so I see this one keeping my schedule occupied for quite a while.  So far, I am going to give the game 4-1/2 out of 5 mushroom clouds.

 

*This was done so that changes made during gameplay were maintained throughout the world, something few if any other games did at the time.  You couldn’t go blow a place up, leave the local map and come back to find everything intact.  Your actions mattered.  This is fairly standard now, but a lot of credit goes to the developers for the persistence of behavior and consequences in Wasteland.  Of course, if I wanted to play the same area over again, I could make another copy of that side of the disk and play ‘fresh’.  I suspect that was how a lot of people, myself included, got their Rangers absurdly high promotions.

**Minor break in continuity, if you had the Strategy Guide from the original Wasteland like I do (yes, I still have my copy).  Angela gets fatally gutted and they leave her behind, and SOMEONE is an android.  Good reading though.

***I hope the reference to the ‘blue woman’ is actually ‘purple’ and happens to be Charmaine, one of my favorite characters from the original game.

With the rise in the last several years of movies and books with dystopian or post-apocalyptic themes, the reporting media (as usual) does not take a careful look at the particular connotation behind these two terms.

Rule #1:  ‘Dystopia’ and ‘Post-apocalyptic’ are NOT synonymous.

‘Dystopia’ refers to the community or society.  ‘Post-Apocalypse’ refers to the milieu, setting, and is essentially a world-building term, of the locale after the Apocalypse.

The latest dystopian work to reach the masses, The Hunger Games, contains both dystopian elements and post-apocalyptic, but the latter only in a superficial and lazy way (never truly defined).  Mostly, it bases its storytelling on the interaction of the people within this society to ‘current’ events.

Rule #2:  Apocalyptic events often create Dystopias.

The society Panem from The Hunger Games could just as well have arisen from modern politics without the intervention of some apocalypse, in that the series of laws created eventually funneled the society into the state where it happens to be at the time of the novels, when the sheeple have given up their power to the government.  (Another aside: note that they tried once and failed, and gave up after that.  If they allow themselves to be so easily trod upon, then they deserve the government they got.)

Rule #3: Dystopias can beget a man-made Apocalypse

Nineteen Eighty-Four, by far the most famous, also has both elements to give it background, but by and large is dystopian.  It is about the people within the proscribed society.

For another example, I would personnally argue that Mad Max isn’t so much a dystopia as a film of anarchy slipping towards its apocalypse hinted at in the introductory montage in The Road Warrior.  Still, it shows that the societies that are created or born from the bad decisions of mad can eventually lean toward the type of mentality that would unleash its own post-apocalypse.

Rule #4:  Not all Apocalypses are created equal.

Zombie apocalypse abounds in our world.  In my youth, during the Cold War, the threat of a Nuclear Apocalypse reigned (and is still, ironically, my ‘favorite’ PA theme and may or may not be the ‘Visitation of the Fallen Suns’ alluded to in the first novel, Umbra: A Post-Apocalyptic Mystery).  The Road Warrior came from this era, as did one of my favorite games of all time, Wasteland (and its nearly 30 years in the making sequel, as well as the beloved ‘Fallout‘ series.)  The threat of pervasive, mutating radiation infecting everything for decades or hundreds of years, along with the (now-disproven) threat of a ‘nuclear winter‘ seemed just too juicy to not spawn some of the greatest PA works of all time.  (Now there’s also a discussion of a ‘nuclear summer’, for the global-warming hangers-on.)  Of course it had its stinkers too, like World Gone Wild, with Adam Ant and Steel Dawn, with Patrick Swayze, God rest his soul.

But what about all those other ones?  Day of the TriffidsWaterworld?  One of my favorite (and arguably one of the only ‘romance’ novels I will ever read, let alone love) – The Silver Metal Lover?  They introduce their own type of apocalypse (blindness/sentient and malevolent plants and melted polar ice caps for the global-warmers, and pollution/asteroid interference, respectively) and all of these are directly influential on the events that occur in the novel.

There are still plenty of differences, and I am sure to revisit this post as time permits to add a few more of my observations, and I invite you to research and suggest some of your own.

Really. There are songs about the end of the world. I’ll tell you about a couple.

Most folks are going to think of hardcore, death metal, or otherwise barely coherent lyrics that may or may not be about apocalyptic forebodings, and the bands themselves acquired the look from The Road Warrior. Or there are always bands like Nuclear Assault, whose name says it all. Not all of the great tunes about the end of the world as we know it (not R.E.M.’s end of the world, thanks) come from that corner of the thunderdome.

When I served in the Navy years ago, I had the privilege of meeting all kinds of people from across the entire country I otherwise might not have met. Before the internet and all the social media, when we can connect with people across the country at any given moment, this was a huge deal, as they brought with them a lot of influences I might have otherwise missed.

One of these gents introduced me to Kate Bush, and I’ve been grateful ever since. Only recently did I find out how her early career intertwined with Pink Floyd, and the album The Wall served as a soundtrack staple for games that didn’t have one, like Wasteland. While I loved her music, I hadn’t really discovered the depth of her subject matter until I found her album, The Whole Story, a collection of songs from previous albums. “Breathing” is the single that addresses the effects of fallout after the bomb.

We’ve lost our chance

We’re the first and last

after the blast.

Chips of plutonium

are twinkling in every lung.

While not technically correct, the song is brilliant and so radical from the rest of the “he loves me, he loves me not” pop crap everyone else out there sang at the time. Her song “Experiment IV” is also worth a note too, not as post-nuclear but as a song about a weapon of mass destruction. A very young Hugh Laurie happens to be in the video as well.

Several years ago, a co-worker got me interested in Steve Wilson and his band, Porcupine Tree. The first album he allowed me to borrow, Stupid Dream, featured a song called “A Smart Kid.”

Winter lasted five long years

No sun will come again I fear

Chemical harvest was sown

The reference is to the purported nuclear winter* which would happen in the even of such a conflict, but there is also the reference of chemical warfare. The “kid” later tells aliens who came to visit that he doesn’t know what happened to the people but that there was a war and he “must have won.”

*This was researched in depth by the TTAPS team, including Carl Sagan, but criticized and refuted by later studies post the conflicts in Kuwait.

 

(Originally published on The Meltdown Cafe 5 AUG 2009)

Here’s the trailer that’s got me pumped: Mad Max: Fury Road.

Anyone who’s followed me for any length of time knows that my obsession with the post-apocalypse began decades ago with Wasteland and Mad Max. When the announcement that Fury Road was underway, I grew unbelievably excited. Then that excitement waned when there were all kinds of setbacks, talks about it being done as anime (yeep!!!) and eventually it faded back into obscurity, and a near non-existence in my brain.

Until now. Wow.

I’d heard Tom Hardy was taking the role of Max, and I reacted with my customary “meh.” Then I saw the trailer and the poster and couldn’t be happier that they are keeping Max’s signature look. Charlize Theron’s character appears to be the “victim” of George Miller’s insistence that someone sport a medical prosthesis, with her robo-hand, and of course the customary reappearance of a previous cast member in a different role made me chuckle.*

This marks a very rare event for me personally, as I have been extremely underwhelmed by movies in general, but I’m actually excited to see this one, despite the silly girls in virginal white. One friend remarked he hopes he doesn’t see any asses hanging out of chaps, though. My thought is that it’s going to get much, much weirder than that.

But… It’s about time. The Zombie Apocalypse has worn thinner than a cotton t- shirt on a fifty-year old carcass. Time for Max to get back out there and kick some ass.

If you’re a fan of post-apoc fiction, tired of the zombies, check out Umbra: A Post-Apocalyptic Mystery. Already available for Kindle and coming soon to other platforms near you. I promise, no zombies.

*They are:
Max Fairchild as Benno Swaisey (MM) then Broken Victim (TRW)

Bruce Spence as The Gyro Captain (TRW) then Jedediah the Pilot (MMBT) (although there have been long-standing debates that he IS the same character, and some inconsistencies in his behavior keep that debate alive).

Hugh Keays-Byrne as the Toecutter (MM) and now Immortan Joe (MMFR)