SMELLS

The Romancier’s Guide to Netflix, Part II

I admittedly neglected Netflix for a period of almost a year after I signed up for a Disney+ subscription. I find myself having no regrets about that year of neglect whatsoever. The Mandalorian alone was well worth the price of admission.

…and that was just the appetizer.

Just before that year started though, there was one Netflix original series which stood out for me as a must-see. Still streaming as of the time of this writing, last time I checked. The Midnight Gospel. Co-created by Pendleton Ward, best known as the man who gave us Adventure Time.

The series follows the adventures of a “spacecaster” (something vaguely similar to a podcaster) who lives in a trailer in a rural area of some alternate (virtual?) reality resembling a hybrid of a Roger Dean painting and the titular ringworld of that old Matt Damon flick Elysium. He has two live-in companions: a white Tibetan terrier(?) who has a portal to the vacuum of space in her belly for some reason (frequently used as a garbage disposal), and a sentient computer system called the Universe Simulator that takes up about half the trailer, like a psychedelic non-evil version of HAL 9000. One with a distinctive triangular touchscreen, and a peculiar five-foot-tall pear-shaped component with a vertical orifice in the side of it, where the spacecaster inserts his head.


…which looks something like a…

Upon merging with the simulator, the spacecaster is taken to some virtual planet where he assumes a non sequitur physical form that differs significantly from his usual guise (e.g. a giant chicken, or man with a fishbowl for a head). He interviews a local resident of said planet, whose appearance is more often than not more bizarre than his. Some heavy philosophical concept is always the topic of the interview, usually one rooted in Buddhism or Eastern mysticism in general, although earth-based magick and mystical varieties of Christianity are also touched upon.

The interview topics frequently take a back seat to the visuals, however. The Midnight Gospel employs the same zanily surrealistic animation style that characterizes Ward’s more well-known series. A series that made quite an impression on me when I first saw it. I was visiting a friend of mine in London one eventful long weekend (not the British capital, but a Canadian city that was named after it) who owned an unusually large smoking implement I have affectionally dubbed Bongzilla. Unfortunately I didn’t take a picture of Bongzilla, because those were quainter times before I started carrying a smartphone. But she was a sight to behold nonetheless. As tall as a petite woman, requiring two people to operate her, her mouthpiece more like a facepiece. Ripping her but once produced one of those intense existential highs that all but convinces the experiencer they’re due to drop dead from a heart attack any second. It was in that kind of mental state when I was first exposed to Adventure Time, courtesy of the same friend’s DVD collection.  



My mind was blown clean off when that DVD started playing. I was transported to a world that seemingly had its own laws of physics, inhabited by strange creatures who had evolved to inhabit that world. Some of those creatures had an ethereal quality to them, others were not so much creatures as they were collective intelligences. The fact that it was as hilarious as all shit was just icing on the cake. I wasn’t sure whether to be awed or amused. I got that same kind of vibe from The Midnight Gospel, although it’s a different kind of awe and a different kind of amusement. Compared to the animated sitcom format of Adventure Time, The Midnight Gospel is more like a podcast with pictures. But what pictures! The podcast is pretty interesting to boot.

I’d be lying through my teeth if I were to say that Adventure Time‘s Land of Ooo was in no way influential on the fictional world I created for my own stories. Although I found out the hard way with my last work in progress that throwing strange visuals in there willy-nilly just for the sake of throwing in strange visuals doesn’t really translate to a literary format. Not only does it make for a longer word count, but it also results in the narrative getting bogged down with a lot of unimportant details that ultimately distract the reader from the plot. So I’m taking more of a less-is-more approach with the book I’m writing now. Keep the focus on the story, but include enough incidental references and casual mentions of fictional things to create an overarching impression that the story is not set in our world in the present day. The reader gets the sense that something about the story’s world is off, they’re just not sure exactly what.


The Green Grass of SILVER BROWN

The Romancier’s Guide to Netflix, Part I

Most of the books I read during the (first?) COVID-19 lockdown were textbooks. As in, non-fiction. Try not to hate me for that; I have always consumed a wide gamut of literature. Figured I should make the best of a bad situation, using the downtime to learn a few new skills. For the inevitable moments when I felt like banging my head against a brick wall, be it from writer’s block, the fate of nations or a particularly troublesome bug in some app I was building, it was Netflix to the rescue.

The other night I happened across some animated series from India (presented in the original Hindi with no dubbing whatsoever, which I appreciated) depicting the hypothetical wacky adventures of Ganesha as a boy. A kids’ show, obviously. But kids’ shows are (more often than not) the shit after a couple of bong rips, so I decided to check it out. At first I found Bal Ganesh endlessly fascinating. I was being offered a glimpse into what kind of Saturday morning cartoons I would’ve been watching had the Fates decreed I be born on a different continent. Subsequent episodes impressed upon me that this was exactly like one of those gawd-awful religious shows my cousins used to watch when they were kids (if you have never heard of Psalty the Singing Songbook, consider yourself blessed), only with a Hindu angle to it. Once it dawned on me that every episode of this series basically has the same plot, the fatal flaw in its premise became abundantly clear to me; a flash of insight which I immediately tweeted…


The Bullhorn of SILVER BROWN

Now Playing: Final Exam Part II (The Late Show)

Facebook is like a knife. It can either be a tool or a weapon, depending on the intent of the person wielding it. The problem with their whole business model is that Zuckerberg operates like a unwashed crazy man in a trenchcoat who lives in his van and hands out knives like candy to all the kids in the neighbourhood. With little concern for the consequences. Educating the kids on responsible knife use is always somebody else’s job, and it’s even economically beneficial to encourage knife fights every once in a while in order to draw a large crowd.


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“They come in all these different colours! Come and get ’em!”

The questionable business practices of the guy who gave me this knife aside, I may as well put it to good (i.e. not evil) use. Spreading some of that good literary Nutella all over the bread of the Internets. Specifically, an encore presentation of the tenth and eleventh chapters of SILVER BROWN. One page a day, as usual. Designated in the book as Chapters Niner (not a typo) and Ten. Because the first chapter is Chapter Zero – an allusion to computer science, in keeping with the story’s theme.

These chapters got a better reception on Twitter the first time out than I thought they would, all things considered. I’ll probably do a bit more editing on them down the road, just not now. The storyline involves my main character swallowing something which brings out some of the uglier aspects of her personality. Kind of like the way some people get when they have their third stiff drink of the evening in one hand and their smartphone in the other.

I wasn’t sure what kind of public appetite there would be for such a plot development, in light of the sheer magnitude of Whiskey Tango Foxtrot the world has seen lately. The other day I read of the man who gave us the darkly brilliant Black Mirror, who recently announced his decision to postpone production of a new season. Not merely because of the coronavirus, but more so because he felt Black Mirror couldn’t possibly compete with the level of melancholy in the current real world. I ultimately decided not to pull a Charlie Brooker. If this or any other yarn was all unicorns and rainbows and sunshine, it would be überboring as a story.

Speaking of Black Mirror, the whole eerie quotient is part of what I love about it. A lot of the episodes could plausibly happen next week. Behold, the very essence of Instagram culture, magnificently captured on celluloid…