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A couple of small revelations on what the poor story construction in blockbuster movies reveals about the zeitgeist.
It seems to me that major movies released in recent decades have bifurcated in scope. At one end, you have character-driven drama set in a household or small town where the budget mostly goes to A-list actors looking to win awards. At the other, you have epic visual spectacles with tons of international locations or even extraterrestrial or extra-dimensional. This could be me finding patterns where none exists, but it seem rational for producers to pick a side: if you want to sell on the intricacies of human relationships, you can do that on a smaller budget; if you want to sell on big explosions and special effects, then you might as well make the story scope expansive and perhaps ridiculous anyway. Ergo, don't worry about realism, just put it in the trailer that if the heroes don't win, then humanity is doomed!
But when story premises grow too big, they necessarily rope in politics and geopolitics, except most movie writers really suck at writing either. I'm going to pick a low hanging fruit to make my point--take Captain America: Civil War, with $1B+ in the box office and great reviews. In it, Earth's superheroes split into two teams, with one wanting to be supervised by the UN and the other refusing the leash. I think it's a fun watch, but its expansive scope rests on a ridiculous understanding and/or portrait of how the world actually works. Without going too deep into it:
Normally, we go into movies with a willing suspension of disbelief. But there is a difference between accepting that infinity stones exist and that half of the avengers are cast out as criminals by the UN. I think it's partly the uncanny valley--either you make the premise obviously fantasy, or you do a good job of making it seem realistic, and partly it's like Sanderson's laws of magic, which really is about having internal consistency--I can accept a fictional world where partisan politics and multipolarity do not exist, hence you get 98-1 Senate votes and 117 countries (presumably including every country that actually matters) coming to agreement, but then you can't also ask me to emotionally buy into the idea that in such a world, I should genuinely fear the secretive Nazi organizations and ultracorrupt politicians and amoral killer CEOs. I mean, is this a utopia or not?!
But evidently most people don't care about this. So maybe the writers simply are illiterate when it comes to politics and geopolitics, but more likely seems to be that they aren't incentivized to try very hard given the paying audience doesn't appear to mind. The third, slightly tin-foil-hat possibility is that it's a very intentional propaganda--to all the teenagers watching superhero movies, it's better if 117 countries vote for a UN panel to be in charge of real power.
Another thought: it's really rather lame that so many conflicts in movies come down to good and otherwise competent people acting excessively emotionally in pivotal moments. Once again in CA:CW, the climactic fight involves Cap fighting Iron Man because the latter learns that his parents were murdered by Cap's friend Bucky when he was under brainwash control. Set aside how ridiculous this convoluted plot was on the villain (how did he know Cap and Iron Man would both end up in the arctic facility together), if the good guys just paused for a min to talk it out, there would be no reason to fight, but then the writers would have to work harder to conjure up a reason for a civil war.
To me, a much more satisfying conflict among good guys would be for good people to fight over complex issues and/or ideological divides, and do so rationally rather than emotionally. But this is politically and culturally impossible, because you'd have to believe that there are good people on both sides (TM). Instead, we end up with good people fighting not over actual reason, but over stupid miscommunications or stupid emotions, because "obviously" good people must agree that there is fundamentally only one righteous ideology, with a consensus so strong that there is no reason to debate over it.
I don't know, wouldn't the Cathedral want control over superhumans? Wouldn't they make a power-grab to centralize control over these dangerous rogue elements lest they overthrow the empire of finance and paperwork with personal power? Wouldn't they want to divide and undermine any would-be Caesars? We saw in another universe the superhumans are in complete control, the 'Illuminati' rule.
However, I 100% agree that Marvel movies are stupidly written and don't make sense. The superheroes are weak in relative terms. A couple of Stryker brigades could demolish Thanos's army. Iron Man is worth maybe five to ten jet fighters. None of them could handle tactical nukes. All superhero movies seem to adore Bronze age tactics: mass charges and 1v1 duels.
DC did better I thought, Superman takes on seriously powerful beings who are fast and strong enough to overmatch human forces. He does tank nukes. It makes sense for people to fear him. But DC also had a lot of ridiculous plot decisions and some silly character interaction (your mother's name was Martha too, I guess we're best friends!)
You could have an interesting movie about the struggle for political, economic and military power between capes and mortal men. But scriptwriters aren't smart enough to write that or don't want to. It's as if they're taught in movie school 'who cares about having a plot that makes sense, we need to affirm these saccharine character moments where the power of love, cameraderie and family triumphs over all odds'. I think only the 5% of the population in the INTJ/INTP area really cares about having plots that make sense.
I regularly get told to stop thinking so much when I point out plot holes in movies. I'm probably not the only one here.
I run into this issue with plot holes, where I can see them if the show/movie is "thinky" or is trying to make you think, but when the show is just trying to be fun you can easily ignore the plot holes because the show isn't trying to do this. Books are typically the domain where you can have stories that have thinking and work well. Stuff like to Kill a mockingbird works because it's in book form. The television show Attack on Titan was like this, the first few seasons were a pure spectacle, there was no real deep plot going on and no need for one, but once they started having a major plot in the last 26 episodes+2 1.25 hour long television specials, the holes in the story started to show.
I don't know what to call this it isn't "suspension of disbelief" it's more like "suspension of thinking rationally about the plot". Like the issue is that these stories have 1 writer only and you have to write both a plot and the characters. Most people actually care more about #2 than the plot and most plots kinda blow. The spectacle of most shows is more important than the actual story for good reasons, (Books typically are a much better medium for pure storytelling, but a lot of the best books tend to fall in the "books you read in high school" category, which if you really pay attention the grand narrative of them is mostly trash). The only exception was this tiny weird niche space opera called Legend of the Galatic heroes which I swear is like if star wars was written by a Neoreactionary. Breaking bad is also good but it is more of a "character driven narrative". I should watch house of cards someday
LotGH is far above the average for stories when it comes to caring about the plot and world making sense, but even then it has a few things that seem poorly explained/motivated. Off the top of my head:
Everyone's insistence of following Commodore Fork's invasion plan regardless of how retarded it was
Trunicht's motivation for letting the child emperor live in alliance territory and form a government in exile
Almost everything surrounding the Reuental Revolt, though I feel like the author was starting to run out of steam at that point
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The novels behind LoGH were quite good too. I think the English translations were released a few years ago.
Translations of the first two books were ok (not amazing). They changed translators for book 3 onwards and they were pretty awful, it would have been almost impossible for me to follow if I hadn't already seen the anime.
Blah. Thanks for the correction. I stopped at two when grad school got really busy, planned to get back to it... guess that's out.
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I think this forum is about 60-70% INTJ or INTP. But in broader society the ratio is much lower.
INTJ is just Myers-Briggs for autist, I guess.But seriously, another INTJ reporting in. If I recall correctly, it’s among the rarer MBTI types. I wonder if you’re right about your assessment of this place as having massive overrepresentation.
Have we ever done surveys or tried to get a handle on the demographics here? Given the amount of wrong think/number of witches, it might be interesting. Or people might not want to participate and we’d see skew as a result.
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I wrote a fucking book because I'm tired of plot holes and shoddy world building, it grates like diamond dust beneath my eyelids.
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