Jump to content

Seto Kaiba

Members
  • Content Count

    7,337
  • Joined

  • Last visited

Community Reputation

736 Excellent

1 Follower

About Seto Kaiba

  • Rank
    Galactic Diva
  • Birthday 08/22/1985

Contact Methods

  • Website URL
    http://www.Macross2.net/m3/m3.html
  • ICQ
    0
  • Skype
    MacrossMike

Profile Information

  • Gender
    Male
  • Location
    Auburn Hills
  • Interests
    Anime (duh), Antique Firearms, Cryptography, Mechanical Design

Recent Profile Visitors

19,991 profile views
  1. Really, I think there's a lot of latitude for writing Star Trek stories. Star Trek: Deep Space Nine proved that a Star Trek story didn't need to follow the Gene Roddenberry "planet of the week" formula to be successful. You could set a show in a fixed location or indulge in serialized storytelling and still keep that essential Star Trek flavor. The thing that sets Star Trek apart from other sci-fi produced in the west is that the future it depicts is a fundamentally optimistic, aspirational one. That's where J.J. Abrams and Alex Kurtzman both screwed up. Bad Reboot's Star Trek movie trilogy and Star Trek: Discovery both dispensed with the idea that the future would be a bold age of space exploration in which humanity had long since learned how to treat itself (and others) with dignity and respect, and where clever diplomacy was just as potent (and far more preferable) a problem solving tool than violence. They didn't want to tell that kind of story. They wanted to make something more generic, the kind of standard space war story where the situation never gets more complex than Lawful Good vs Chaotic Evil and problems are solved by shooting each other with ray guns. That's why Star Trek '09's story created a parallel world with a more militant, openly nationalistic Federation and Starfleet who see the Klingons and Romulans not as worthy foes or potential allies in the future, but simply hostile aliens to be destroyed. That's also why Star Trek: Discovery's entire first season was one long war story, against a more bestial, far less civilized Klingon Empire full of cruel, bloodthirsty, warmongering savages who live by no law other than the survival of the fittest. They've been dehumanized to the point that they're not people, they're just space monsters the heroes can kill without remorse or complaint. There's no code of honor... they're just rapists and murderers and terrorists and every other kind of immoral thing you could think of. Star Trek: Discovery's second season was little better, with a few optimistic plots before the rot set in and they introduced an omnicidal enemy who wanted to exterminate all life and therefore diplomacy was never an option so massive ray gun battles and grisly combat deaths could be the norm. That's where I fear Star Trek: Picard is headed. Picard had issues with dehumanizing the Borg drones already, but now we're going to see the Romulans as irredeemable villains who're just keeping the Borg drones in gulags to torture them. You can write almost any story in that general setting and call it Star Trek, but without that optimistic, principled future it won't feel like Star Trek. That is the most important thing for writing a Star Trek story... that the future is a better place, that humanity and its allies have principles, and that differences are celebrated rather than shunned. That vision of the future is the quintessence of the Star Trek setting. Everything else is negotiable.
  2. The novels, at least, had a coordinated continuity across the four Star Trek relaunch novel lines and the new TOS novels that were made alongside them. I'm not sure if the Star Trek: Discovery novels are coherent with them, but the TV series itself borrowed the second season's primary antagonist (Control) from them and the ending of season two seems written to avoid ruling out that the Control AI was actually permanently destroyed. (Control in the novel-verse was not a malevolent AI as such, but more a very well-intentioned extremist ala Sloan that would take any action, no matter how unsavory, to preserve the Federation and its ideals in a galaxy that didn't share them. The actual malevolent AI was Control's creator, the AI Uraei, a pre-Federation surveillance AI which created Control and Section 31 to take extralegal action on its behalf... and was deleted by Dr. Bashir a few years after Nemesis.) Star Trek: Picard poses more problems, being that the Borg apparently are the centerpiece of its plot... while in the novelverse the Borg ceased to exist when the "sufficiently advanced" race that accidentally created them killed the Borg Queen for good and cut off the Collective for good a few years after Nemesis. The whole reason that they went back to developing in the Prime universe was that Star Trek fans largely didn't really care for the Jar-Jar Abrams reboot films and their darker, more action-centric take on the setting, and the films themselves were not really all that successful commercially. Star Trek: Beyond in particular did very poorly once marketing costs were added in, which led to an exodus of financial backers that killed the fourth movie stone dead. Because the audience that DID like the films were mostly the casual viewers and the Star Trek fandom's feelings for them hovered between ambivalence and dislike, there was very little in the way of licensing revenue to recoup costs and losses. Going back to prime universe Star Trek made sense... as in "dollars and". Bad Reboot still wants to do things Abramsverse-style because that's their take on Star Trek, but because many fans don't care for it at all they keep increasing the percentage of prime continuity references and appearances by characters from previous Star Trek shows in the hopes of making their creative output less unpalatable to the die-hard fans who actually buy the franchise's licensed merchandise. They're hurting pretty bad because there aren't as many licensees buying licenses and paying royalties because market research shows them that the fans who are paying for merchandise don't like Abrams-era Trek.
  3. Started Nobunaga Teacher's Young Bride today. It's pretty unremarkable so far. The only thing that really stood out to me was that, like Isekai Cheat Magician and a bunch of recent shows with odd premises, the protagonist accepts a completely implausible situation almost immediately and practically without question. He asks her a few basic questions about her name, her family, and what year it is, and jumps right to "this girl is the real Ikoma Kitsuno, the warlord Oda Nobunaga's lover and mother of his children, and has traveled 467 years forward in time". Seems like fodder for some decent-ish comedy tho, and it's pretty well-animated for a short series.
  4. Battlestar Galactica's 2004 TV series was a strong performer, but it kind of burned out on its own when its spinoff Caprica was poorly received and got cancelled by SyFy in 2010. Game of Thrones was what I mentioned because it's the property that's generally credited (or blamed, depending on your perspective) with the spate of dark, action-heavy, highly serialized shows we're currently living with by producers and film pundits alike. Can't say that I have, and please tell me that isn't the real cover... that looks like he made it himself in Microsoft Paint during a boring staff meeting. Actors have a bit more clout working in feature films rather than broadcast television... though, to be fair, all my examples were supporting actors and actresses raising grievances with the producers. After seven seasons and two previous feature films as Jean-Luc Picard, Patrick Stewart could kind of hold the project hostage to get any changes he wanted made. It's not clear if he could do that with Star Trek: Picard.
  5. Unfortunately, a full replacement of the Star Trek creative staff is unlikely to occur until (or unless) CBS decides the current Star Trek projects under active development are performing too poorly to justify continuing to keep around. Star Trek: Discovery is already performing poorly enough that Netflix only reluctantly agreed to bankroll season two after securing a promise it'd be more like real Star Trek and, unless I've missed something, neither Netflix nor CBS have made any announcements about having resolved their deadlock over the show's future. CBS's attitude seems to be that Star Trek: Discovery's status as the flagship series of their struggling CBS All Access service and all the sunk costs involved in its development planned to be amortized over seven seasons mean that the series is simply Too Big To Fail. They're plowing forward with season three development regardless of the ongoing legal proceedings for copyright infringement and Netflix's reluctance to actually give them any money to make it. Star Trek: Picard seems to be headed the same direction, relying on the same deceptive marketing tactics used in Star Trek: Discovery's second season in the hopes of bringing Star Trek fans back to the franchise long enough for CBS All Access to turn a decent profit. Amazon was already reluctant to give CBS anything close to the amount CBS wanted for the show's production, so it'll be interesting to see how the curtailment of the budget will impact the quality of CBS's spectacle-before-substance approach to Star Trek. I'm not so sure we don't start to see the end of it in the near future... a large part of the blame for the tsunami of dark, gritty, action-ized, spectacle-over-substance versions of shows cropping up in recent years belongs to Game of Thrones. Game of Thrones was a license to print money at the height of its popularity and success like that naturally leads to copycat behavior from rivals and partners alike. The ignoble failure of Game of Thrones's eighth and final season as well as the at-best lukewarm performance of a number of other big ticket properties that tried to imitate its style like Harry Potter's Fantastic Beasts spinoff or the Star Trek reboot films should serve to disincentivize going all-in on the dark and gritty BS in the future. (That said, I was actually rather surprised to learn that Fantastic Beasts: the Crimes of Grindelwald had been poorly received... I'd thought it was rather good since its tone was amply justified by being set in Europe between the World Wars.) That said, I doubt CBS/Viacom will budge on either Star Trek: Discovery or Star Trek: Picard. I think they're smart enough to know that no amount of retooling will make Discovery a watchable show and are determined to plow forward with it anyway in the hope that familiarity with it might breed something other than contempt for once. I don't think that they ever really gave up on making Star Trek: Discovery into Game of Space Thrones, they've just had to change tack after using the Klingons for it didn't pan out with nobody giving any f*cks about L'Rell and Voq because they were a career backstabber and unloveable bigot turned into a subtly racist meme. I'm less than optimistic that any objections on Patrick Stewart's part would make any impact on the producers... Star Trek's producers have a long history of not taking complaints by their actors seriously, going back to WAY before Kurtzman. Nichelle Nichols's grievances almost led to her quitting Star Trek's original series until Leonard Nimoy took Roddenberry to task and Martin Luther King Jr. begged her to stay on the show, Gates McFadden quit Star Trek: the Next Generation and was replaced by Diana Muldaur for a season because she was frustrated at her character's lack of development after having been promised she'd be Picard's romantic foil and Denise Crosby quit because she felt her character wasn't doing anything of significance, Robert Beltran spent seven seasons phoning in his performances in protest of Chakotay being rewritten into Janeway's yes-man on Star Trek: Voyager and Jeri Ryan's complaints about being unable to breathe properly in her original catsuit that were ignored until it started to negatively impact her health on set, and Jolene Blalock spent four seasons protesting the handling of her character and Vulcans in general being inconsistent with previous Star Trek shows to no effect.
  6. Harmony Gold's pretty screwed... trademark laws in most of the world are written to give priority to the owner of a property rather than the first user. Since the United Kingdom is still a European Union member despite its hilariously self-defeating efforts to the contrary, the European Union trademark law firmly working in Big West's favor is skewed even more heavily in Big West's favor by the United Kingdom Intellectual Property Office's finding in Big West's favor being admissible as precedent. They're likely in a big of a scramble, trying to come up with something - anything - that might be used to convince the European Union to let them keep the trademark. My guess is, as they asked for a sixty day extension, they're trying to huddle up with Tatsunoko Production and see if Tatsunoko has anything that they could use as ammunition. (Tatsunoko is unlikely to be of any help, since they'd have to claim to own the Macross franchise to support Harmony Gold's claim, and THAT would get them sued by Big West.)
  7. Even then, he's still an idiot for not responding to the Rebel assault with maximum force. Tarkin and Vader had a comically overwhelming strategic and tactical advantage and didn't use it. If the Empire had anything like a competent leader at Yavin, that would've been the end of Star Wars right then and there. If they'd just blown Yavin itself up with the Death Star's stupidly huge planet-killing gun they would've destroyed the entire moon the Rebel base was on as collateral damage without ever exposing their battle station to harm. Or they could've just sent an actual counterattack out to leverage their massive numerical advantage, wiped the entire rebel force out without breaking a sweat, and either captured the base or just blown it up at their leisure. To reverse a remark from Spaceballs... "Good will always triumph because Evil is dumb".
  8. Wouldn't have helped... the redesign was visibly and obviously derivative of Macross designs, and its "creator" explicitly acknowledged it was based on Macross IP.
  9. The artists must take it in turns to get blackout drunk while working on this comic. I know I would.
  10. Variable Fighter Master File: VF-1 Valkyrie Vol.2 - itself presented as a 2030-vintage in-universe mass market publication - makes mention of a 2012 in-universe film called Macross: the Truth of South Ataria Island that dramatizes the events of the start of the First Space War and a forthcoming direct sequel set to release in 2031 (which we know is the in-universe take on Macross: Do You Remember Love?). It wouldn't be surprising if a production company with the connections to shoot multiple films with the military's support to promote the ideas the danger of alien attack hadn't passed tried to branch out from historical dramas to speculative fiction... especially with the Mardook being implied to be the Protoculture. A 2040s vintage Macross II: Lovers Again in-universe film might even have been a somewhat subversive piece intended to quietly call the military out for its abuses of authority and its general complacency that were already in the process of snowballing into the Second Unification War c.2050-2051.
  11. The redesign went over exactly as well as you'd think given the Robotech fandom's aversion to change and attachment to the original show.
  12. They don't really accomplish much... Vader's and his two wingmen do all the actual work, but the point is taken. It was more than three... but still far, FAR, FAR less than the seven thousand they could've and would've mustered to squash the Rebel attack outright if they weren't holding the idiot ball. If they'd taken their jobs seriously, Vader and Tarkin would still be alive, the Death Star would've blown Yavin IV to bits, and Lucas would've needed a rather different title for A New Hope. (The Emperor actually did it right, and would've won outright in Return of the Jedi if he hadn't let his complexity addiction force him to grab the idiot ball and fail to properly secure the perimeter of the shield generator base on Endor.) Tarkin was told point-blank that there'd been a security leak at the facility that developed the Death Star, and instead of fixing the problem used it to undermine a rival. He knew going into the Yavin operation that the Rebels had the Death Star plans he'd been previously told probably contained a potentially fatal intentional vulnerability and makes ZERO effort to protect the station. Then he's warned mid-battle that the Rebels are definitely onto something, and blows it off. That's not a one-in-a-billion freak accident, he was told several times there was a serious threat and he ignored it or dismissed it out of hand. If you got a recall notice saying that your car has a flaw that could cause it to spontaneously explode, a sensible person would get that recall taken care of straightaway. They wouldn't toss the recall notice unopened and then act surprised when the car blew up and killed them.
  13. To be fair, this is the exact same f*ckup that Darth Vader made in A New Hope... Vader and Tarkin had command of an incredibly powerful battle station that supposedly had something on the order of SEVEN THOUSAND starfighters at its disposal, as well as a few docked Star Destroyers. The total number of starfighters launched to counter and contain the multiple fighter squadrons in the Rebel attack force? THREE. The total number of ships and starfighters launched to contain the Rebel base while the Death Star got into position? ZERO. The entire Star Wars series is only possible because the Imperials are juggling the idiot ball at any and every opportunity. Mostly, it takes the form of believing themselves to be totally invincible despite all evidence to the contrary (e.g. Scarif in Rogue One, the Death Star in A New Hope, the Death Star II: Sith Boogaloo in Return of the Jedi), though they moonlight as bumblers who screw up because the threat of having to explain themselves to Darth Vader has them so terrified they don't think rationally or behave professionally (e.g. every Imperial officer in Empire Strikes Back) or are so busy backstabbing and undermining each other in the name of political point-scoring that they do more favors to the Rebellion than themselves (e.g. Krennic and Tarkin in Rogue One). The First Order, as an Imperial remnant, are just keeping the grand tradition of Imperial incompetence alive and well into the future. Was it the first example? IIRC there was something about the hyperdrive leaking in The Phantom Menace that restricted the range of their hyperspace jump until they could no longer jump all the way to Coruscant, forcing them to divert to Tatooine. (I mean, they never say what the hyperdrive is leaking, but still...) I'd expect the reason they didn't split their forces was that they had one cruiser and three escorts. The vast majority of their forces were on the cruiser, the only ship big enough to hold them all, so splitting up would just give the First Order three weak escorts to ignore and one now-alone vulnerable cruiser carrying most of the Resistance.
  14. Well, it's nice to know they didn't just fold or fall off the face of the Earth the way Harmony Gold's previous partners-in-cancellation did...
×
×
  • Create New...