[REVIEW] [LNH] The Tribulations of Kid Review #3
Saxon Brenton
saxonbrenton at hotmail.com
Thu Sep 9 13:44:22 PDT 2010
On Wednesday 8/Sep/2010 Andrew Perron (pwerdna at gmail.com) wrote:
> "Ah, excellent. The cloud of Chartreuse Retcon Hour Story (harmful only
> to title characters of review series) has passed.
Bwahahaha! Okay, so it's a comic nerd joke. Still hilarious.
Woot! I get two reviews! But that means I get subjected to twice as
much scrutiny.
On _Beige Midnight_ #1-4:
> "Where did Al-Qaeda Amerika originally show up? I know they were
> mentioned as a hypothetical in the 9/11 issue of Limp-Asparagus Lad..."
_Beige Midnight_ is their only actual appearance so far. Looking back on
it, I realise that I was 'parasitising' Arthur's miniseries. I've used
_Beige Midnight_ to advance/conclude two plots - the Al-Qaeda Amerika plot
(although that can be carried on elsewhere, because AA can be used as
a recurring franchise villain group) and the wrapup of the President
Hex Luthor plot.
> "Reading the Al-Qaeda Amerika fight scene reminds me of some of the
> international superteams from the ASH setting; I'd like to see some of
> these characters get more ization. Also, am I the only one who's really
> skeeved out by soul-damage? This could be a whole separate rant, but
> suffice to say: it doesn't make sense to me, and really seems like it
> should be a bigger deal than it's usually made out to be."
I think the soul damage is something I extrapolated from the mechanics
of the In Nomine roleplaying game. Moreover, the theme of the soul is
one that I've had on the backburner from a *smegging* long time, because
it's an important part of the question of self-identity of Senses Lass
as an artificial being. All that said, looking back I am a bit doubtful
about the way that scene was presented: it starts at first principles that
in a four colour comic book superhero universe all gods exist, and then
gets a tad preachy with the rammifications.
> "ApocaLISP's scene feels a bit random. It reminds me of crossover chapters
> where characters from other parts of the crossover would show up just
> to remind you of what's going on over there, except, of course, that
> there's no other story here. Is this a set-up for some slow-boil?"
Yes. It was random weird sh!t dumped in because it seemed like a good idea
at the time. I don't think the motivation was to use it as padding, although
given that I (explicitly) wanted to have the BLF overcoming a series of
problems in order to built up their narrative momentum to 'earn' their final
plot coupon (the genie lamp) that may be a matter of personal definition.
Whatever, it does come across like a description I once read for Marvel's
_Secret Wars 2_: a crossover where the characters stand around like doofuses
when the plot lines intersect.
> "(Tangent: If djinni are 'composed of smokeless fire', then why are they
> so often associated with smoke? Clouds of smoke coming out as they appear,
> wispy body parts trailing off...)"
No idea. I suspect it may be simple inconsistencies in the way different
parts of their mythology has accumulated.
On _My Father's Son_ #1
> "First, let's get the negative out of the way. The exposition isn't
> worked in very well. Many of the paragraphs follow a formula: use one
> sentence to describe what Slowpoke is doing/saying/thinking, and spend
> the rest of them explaining why. Dropping in big chunks of infodump is a
> Saxon Brenton trademark, but he's gotten better at integrating it into
> the story over time. Here, though, it's not blended as well."
Okay, I can't really argue with that. However, I do have a question,
because I'm not clear on the exact nature of the problem that the
structure of those paragraphs is causing.
To summarise the situation as I understand it: even after all these
years I *still* have a problem trimming the amount of information I
put into my text. I trim somewhat, but for a lot of the time I try
to work around the problem by reworking the sentences until most of
its in there but it reads okay because it *flows*. (Although sometimes
this is not enough and no amount of rewriting is enough to keep it
from collapsing into a steaming pile of info dump.) In any case this
often makes my writing dense and even baroque.
With that in mind: Do you think the problem in this case is too much
information in the text; that the amount of information in the text
is okay but its straight out badly incorporated; or that the
information paragraphs are placed so as to disrupt the flow of the
story's action; or something else entirely.
I ask because I think I'm still close to the story. I went and
re-read it, and was easily able to pick out a number of paragraphs
that have excat;y the recurring structural pattern you describe
(oh noes! my writing style has fallen into predictablity, and I am
at risk of becoming a paraody of myself!). But even with that done,
I can't see any of thpose paragraphs as reading 'badly', 'awkwardly'
or even 'ostentaciously wordy'.
Gosh, I'm all warm-inner-glowy now. I think the main problem with
originally finishing MFS was that the original second half (now billed
as #2) is such a downer that I couldn't get motivated to write it. I
think I'll take another crack at it now.
---
Saxon Brenton
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