hardboiled novel

stabbingxcontest  asked:

As for anime, Astroboy is pulp as hell, so is Golgo 13. Might fit your taste

After I said I wasn’t a big anime guy, a few people have given me recommendations.

Golgo-13 sounds awesome, like a hardboiled men’s adventure novel hero from the 1960s, only more far out. I appreciate the recommendation. I’ve always felt that men’s adventure heroes like Pendleton’s Executioner, to say nothing of the “Special Forces/Green Beret” gun porn men’s adventure novels of the 1980s, grounded themselves needlessly; they should embrace the fact their characters are slightly superhuman and theatrical, the way the Shadow did in the 1930s (which is why I tend to enjoy the pulp heroes of the 30s more than the men’s adventure heroes of the 80s). So, just conceptually, I like the approach.

Astro Boy though, violates one of my two ironclad rules: no talking animal sidekicks, no cute little kids.

Star Trek: DS9 Notes - S7, Vol. 1

BACK IN IT, TO WIN IT: Deep Space Nine Season 7!!!!!

7x01 ‘Image in the Sand’
- Majel Barrett’s voice, omg, I’m home
- COLONEL. Colonel Anastasia Komananov. naahh I’m just teasing — COLONEL KIRA :D

new hair too

- Kira: “I remember when the cult of the Pah-Wraiths used to be a joke. Now those red armbands are appearing all over Bajor. It’s like everyone’s gone crazy.”
  Odo: “A lot of people feel abandoned by the Prophets.”
  Kira: “Believe me I know how they feel. But that’s no excuse to turn to hate and fear.”
  anyway it’s 2017 in America and I’m struck
- whattup I missed Miles and Julian like my own friends
- life’s ambition tbh: serving on a starship alongside Career NCO Chief O’Brien
- turns out Ben can play the piano, and it very figures. he’s currently trying to jazz out his feelings.
- I love this show like a childhood I didn’t have. how is this like, retrograde formative. I’m emosh.
- Admiral Ross: “You still think he’s coming back?”
  Kira: “Don’t you?”
  Admiral Ross: “—I’ll be in touch.” ho hoho
- Deep Space Nine is straightforward but not simple. maybe that’s the phrase I’ve been trying to put my finger on for months. because I love a lot of…kinda ornate shows? with a lot of heady stuff going on, all sorts of stylistic experimentation, blah blah blah, and Star Trek…isn’t that. but it’s STRONG. the themes and emotional resonance might be purer for being uncluttered.

Keep reading

“For instance, supposing that the planet earth were not a sphere but a gigantic coffee table, how much difference in everyday life would that make? Granted, this is a pretty farfetched example; you can’t rearrange facts of life so freely. Still, picturing the planet earth, for convenience sake, as a gigantic coffee table does in fact help clear away the clutter - those practically pointless contingencies such as gravity and the international dateline and the equator, those nagging details that arise from the spherical view. I mean, for a guy leading a perfectly ordinary existence, how many times in the course of a lifetime would the equator be a significant factor?”

-Murakami, Haruki
Hardboiled Wonderland and the End of the World

anonymous asked:

does a protagonist always need to have positive characteristics?

Nah. We did a post on this a while back called “Your Characters Don’t Always Need To Be Good People”, a lot of our followers assumed we were talking about antagonists but it applies to both.

This gets wrapped up in the concept of “likeable characters”. A protagonist doesn’t need to be “likeable”, but they do need to be compelling. As a reader, they and their journey need to inspire interest so that we keep reading. There are plenty of characters out there (more male than female, unfortunately) who aren’t really very likeable. I wouldn’t call either Jamie Lannister, Cersei, or even Tyrion conventionally likeable (which is a personal bias) but I would say they and their circumstances are interesting, their narrative compelling. Tony Stark, especially the Stark from the Iron Man movies is another character who isn’t particularly likeable by the conventional definition. (Assume conventional likeability is on the scale of Disney Princess, Thor, and the general perception of Captain America down to Tywin Lannister, Loki, and Maleficent for negative traits.)

I’d be careful using the world “always”.

A good rule of thumb is: When working to create a protagonist with negative traits, think about a character you love with the traits you want to include in your character. Maybe this character is a villain, that’s fine if it is. Most antagonists can be redrafted into the protagonists of a different story. Maybe this character is male and you want to write a female character, again that’s fine. Men and women aren’t really that different, media just likes to pretend they are. You can easily take character traits from male characters and apply them to female characters. Most of the examples you’ll find for a traditional Heroic Journey are going to be male, but a female character can take those steps just as easily.

So, you have a character in mind. Think about why you like that character. What is it about their narrative that you find compelling and interesting? Is it their situation? Their background? The actions they take? Is it the actor’s chemistry? (Tom Hiddleston has very nice cheekbones.) What’s working for you?

Chart it all down and be honest.

Once you know why you felt that way, you can start thinking about how to replicate it. If you found these traits and that character compelling, chances are others did too and might be looking to read stories about it.

There are certain types of stories that just don’t function well with a lead character who has an overwhelming number of positive traits and few negative ones. Crime novels, particularly Private Investigators and Hardboiled Detective novels live on characters who are complicated, ethically questionable, morally repugnant, sleazy, and more than a little screwed up. Most of the conventional “good woman” tropes don’t actually work well with women warriors, especially ones who live in the gray area of grayer worlds.

Life is hard sometimes, people aren’t perfect. It’s a rainbow spectrum, there’s room for everyone. You just have to work hard to make sure that they’re interesting and worth reading about, which means understanding  why you found them compelling in the first place.


Comics to Read, 3/25 - Hologram Edition

Greetings vocal minority and others to yet another week of comics to read. This week I have some first issues for you and some other picks but let’s start with one I very excited about!

It’s not often that a week comes when I’m as excited about a book as I am this one and I admit some of this is because the creative team are people I know and adore. But, here’s the thing about the book that Kelly Thompson and Sophie Campbell have created - it’s great! If you loved Jem the cartoon you’re going to pick this up but if you just like comics that are fun and creative pick this up too. Also earrings.

If you’re a fan of hardboiled detective novels and comics (a la Brubaker) than you’ll want to give this a try. Vanesa R. Del Rey’s art is a fine match for Bryce Carlson and you’ll be greedy for the next issue.

I think I’ve given the writer of this, Scott Snyder, enough attention that I can turn my attention to once again saying that Jock is an amazing artist. And this is a great book.

The end of the first arc and a satisfying one. We find out a lot more about the mysterious goings on at GA and their connection to Arkham. We get Maps losing it over pizza and we get the arrival of a new young male member of the GA team who with Batman on the cover shouldn’t be surprise (actually they’ve announced it - it’s Damian Wayne). This book is taking a break until June; I hope DC promotes it over digital so that it can build its audience.

The last issue of Catwoman certainly got people’s attention so I hope it means more people pick up this issue the last before the Convergence break. As I’ve said before I think Valentine is the best writer Selina has had in ages.

Oh boy it’s Wic Div time!

Simone’s run on this book is pretty fun.

And that’s it - if you do pick up Jem and like it go tell Kelly on Twitter @79Semifinalist. 

What’s on your list?

A comiXologist Recommends:
Harris Smith recommends The Fade Out #1

From Criminal to Gotham Central to Fatale, there’s no disputing that Ed Brubaker is one of the modern masters of crime fiction.  The strength of his work derives from a keen synthesis of his influences, particularly 30’s-60’s hardboiled crime novels and film noir, combined with a streak of imaginative originality.  In Gotham Central, for example, he crafted an expertly written Ed McBain-styled police procedural and grafted it into the ongoing continuity of the DC superhero universe.  Fatale began like a Dashiell Hammet-influenced detective story, combined with an element of Lovecraftian  horror, then spun both ideas off in a variety of unexpected directions.  A significant factor in Brubaker’s appeal is that his influences are primarily stylistic, he doesn’t bog the reader down with excessive references or in-jokes, but rather uses his understanding of genre to capture its spirit, in the service of some often highly original storytelling.

In his latest, The Fade Out, from Image, Brubaker recalls the Hollywood-set noir of Billy Wilder’s Sunset Boulevard, In a Lonely Place (originally a novel by Dorothy Hughes, later a film by Nicholas Ray, starring Humphrey Bogart) and The Big Knife (originally a Clifford Odets play, later a film by Robert Aldrich), as well as the non-crime desperation of Tinseltown-themed stories like The Day of the Locust (both Nathaniel West’s novel and John Schlesinger’s film, one of my personal all-time favorites) and Kenneth Anger’s salacious non-fiction Hollywood Babylon.  Like these classics, Brubaker casts a cynical eye on the glamor of the movie world and focuses on the corruption and decadence underneath.  Taking place in 1948, The Fade Out focuses on Charlie Parish, a seemingly burnt out screenwriter who awakens from a night of blackout drinking to discover he may or may not be implicated in a murder.  Along the way, Brubaker evokes Pearl Harbor, the Hollywood blacklist and other heady elements that ground the story in historical reality.  Tonally, The Fade Out expertly builds, in just the first issue, from uneasiness to dread to suspense and ends satisfyingly on a low-key cliffhanger that left me anxious to find out what could possibly come next.

If you’re a fan of Brubaker, you already know what kind of magic there is to be found here.  If you’re new to his work, this fresh, smart, exciting new series is a great opportunity to get onboard. 

[Read The Fade Out #1 on comiXology]

Harris Smith is a Brooklyn-based comics and media professional. In addition to his role as a Senior Production Coordinator at comiXology, he edits several comics anthologies, including Jeans and Felony Comics, under the banner of Negative Pleasure Publications. He’s also the host of the weekly radio show Neagtive Pleasure on Newtown Radio.