Progress Report #8: K.I.S.S. and a September Twitter/FB Sabbatical

I mentioned earlier that my last show was this past weekend. Now that my world has mostly stopped spinning, it’s suddenly gotten very small–which means a renewed focus on four little letters. K.I.S.S. Keep It Simple Stupid. Essentially, it’s about deconstructing the most complex ideas into their simplest components. This philosophy is very popular among the tech crowd, but I’ve seen other variants of the idea, too, often referred to as the science of simplicity with respect to wardrobe and reducing other decisions to avoid distractions.

The past year has been filled with a lot of Deep Stuff, for me, and while it was necessary and important to go through another series of Life, the Universe, and EverythingTM events…I’m fried. I had a great time being a guest and speaker at a lot of shows, and was able to meet with a lot of friends–old and new–but now that my travel is over, it’s time to tie up projects and forge ahead. Thus, K.I.S.S. By narrowing my focus, I remove distractions and excuses so I can focus on my goals.

To help put me back in the right frame of mind for a heavy production schedule and a new stage in my career, I’m logging off of Facebook and Twitter for the month of September. It’s a real challenge, for me, because I have so many people that contact me via these mediums, as opposed to e-mail, either for work or to hang out. Ergo, I’m giving y’all the heads up that I’m avoiding those mediums as much as possible for the month of September. If you’re trying to contact me for work, please use e-mail because I’ll probably miss it!


Q2 and Q3 brought quite a bit of announcements your way, including several new Firefly RPG nominations for the Origins Awards and ENnie Awards. We were up against stiff competition, including Dungeons & Dragons 5th Edition, and were honored to be included among such fantastic titles. We were also very grateful to accept the ENnie 2015 Judge’s Choice Award for Echoes of War: Thrillin’ Heroics and hope you’re enjoying the game.

We’ve had a number of questions about where the line goes from here. As we’ve mentioned in our interactions with fans, we’re taking a pause to promote the releases we already have for the line. Including the two releases I mention below, we’ve released six books so far for the Firefly RPG. Though the line launched a few years ago, we still have fans asking about the game as if they’re discovering it for the first time. For us, our focus is on highlighting the supplements because a lot of fans aren’t aware they exist. If you’d like to help, remember that reviews and actual play are lovely for your fellow fans to read. This really helps fans decide what they want to pick up. So thanks!

Since I write, edit, and manage projects full-time, this means that I’ve been looking forward more than I have been in the past few years. After all, despite the decisions that happen with respect to any project I’m working on, as a freelancer it’s my responsibility to ensure that I’ve always got something in the hopper so I can earn a living. That is why I’m pleased to tell you that I’m the developer for the Hunter: the Vigil Second Edition and the Conan RPG based on the literary works of Robert E. Howard. My roles on both are not as intense as they were on the Firefly RPG, which is partly why I’m able to fit them into my schedule in addition to other projects. Because my travel has now ended for the year, that enables me to get more done as well.

In addition to these announcements, I released the following since Progress Report #7: the Workhorse Edition.

  • Smuggler’s Guide to the Rim – This is a book filled with lots of great material for players and GMs. Both digital and print are now available!
  • Ghosts in the Black – This is a Firefly RPG campaign supplement. The story was designed by Robin D. Laws, and I’m happy to report it’s now available in digital and print.
  • World of Darkness: Gothic Icons – What’s gothier and angstier than Gothic literature? Gothic Icons! Now available in print.
  • World of Darkness: Dark Eras – Wrote the Hunter: the Vigil supplement for this book for 1690s Colonial America. We handed in our expansion material and new art notes for Dark Eras I, and Dark Eras II is due shortly.
  • Brandon Sanderson’s Mistborn RPG – I contributed to the Skaa supplement for this game and Logan Bonner is my developer. Last I heard, it’s still coming out.
  • Vampire the Masquerade Dread Names: Red List – Fans can play as an Alastor to hunt the Camarilla’s worst enemies. Or, alternatively, Storytellers can drop one of the Anathema into their Vampire: the Masquerade chronicle.
  • Vampire the Masquerade: Ghouls – Currently in editing.
  • Conan RPG – We’re currently working on wrapping up the corebook, and are expecting a few pieces yet for the manuscript. I’ve got about three-to-four hundred applicants to sift through before I propose them to my teammates.
  • Codex Infernus – I developed the setting for this hell-themed Savage Worlds supplement, and the publisher is working on a relaunch of the Kickstarter. More soon!


Last time, I talked about how defeated I felt. However, I’m really stubborn. Amazingly so. Ergo, I’ve hit this hard and am now in full-on pitch mode. I am working with a few people as collaborators and mentors, but until we’re ready to announce I’d much rather give you the basics. Call this my safety catch, since I’ve been through too many “Hey, let’s announce!” “Oh wait, it just got canceled” cycles. Thus, here’s the basics about what is in the works (with codewords):

  • Starry Alpha – Working on outlines for an established property. Pitch!
  • Pinefresh Theta – Pitch, full script, and sample sketches sent off to an anthology.
  • Sparkle Mega – Full pitch in the works for a short-term series.
  • Red Sigma – In addition to pitching, I am going the small press publishing route for a collection. Still in the planning stages on this one, though!


Fiction is still on my radar, and there’s been some movement on that front.

  • Gods, Memes, and Monsters – My story “Three of a Kind” was recently published in this collection.
  • Upside Down: Inverted Tropes in Storytelling – I’m co-editing an anthology with Jaym Gates for Apex Publications. Here’s the announcement. We’ve gotten in about a dozen stories so far, and I’m really excited to see this come to light.
  • Novella – I have a dark, science fiction novella I need to finish revising so I can sub that out. Codeword: Red Byte
  • Novels – Another round of revisions on Novel A (Codeword: Silver Dagger) in May, Novel B (Codeword: White Fang) probably not until July. I want to rework the plot for B.


New for this project update! WOO! I signed with Red Sofa Literary to represent a worldbuilding book I wrote.

  • Worldbuilding Book – I’m working with my agent to hone my pitches for interested publishers. Pretty excited about this!

  • For Exposure: The Life and Times of a Small Press Publisher – A book of essays written by Jason Sizemore, the publisher for Apex Book Company as part of the company’s 10 year celebration. I have written a satirical essay which is titled “The Case of the Mysterious Splatter.” It has footnotes. Many, many footnotes. It’s now available.
  • The Gorramn Shiniest Dictionary in the ‘Verse – This language guide for the Firefly TV show will be out this Spring from Titan Books. You can pre-order it now. Awesome!

That sums up the new releases and a few projects that are in progress for me. Back to the grind!

Writing 101 Advice from Geek*Kon 2015

Quere Baby Deadpool Pole Dancing Avatar

Geek*Kon 2015 was a mixture of seeing old friends and making new ones. I did have a great time and these fans are doing everything they can to put on a great show. I was thrilled to see folks like Emma Bull, Greg Weisman, Christopher Jones, Will Shetterly, and Alex Bledsoe speak to up-and-coming writers, fans, and all around great people.

Rather than give a recap of every panel and anime-related item I purchased (*coughs* Jiji rocks!), I’d like to highlight some of the wonderful advice given during my Writing 101 panel. The panel consisted of Alex Bledsoe, Will Shetterly, Emma Bull and myself. Here are some of the nuggets of advice given during the panel that I hope inspires you to write your heart out. Please note that I made every attempt to attribute said advice correctly, and some of the comments are sub-attributed to Steven Brust. Rather than rehash many of the tidbits I’ve mentioned here on my blog, today’s spotlight is on the other authors and their words of wisdom.

  • Point-of-view (P.O.V.) solves everything. Brust/Bull
  • Story starts with your P.O.V. character. Shetterly
  • Deal with the precipitating event as the first part of your story. Bledsoe
  • What serves the story is what you don’t tell. Shetterly
  • With respect to critiques and feedback from readers, “Worry about reader problems vs. reader solutions.” Shetterly
  • I write first drafts to create a skeleton. Bledsoe
  • With respect to revisions: “I pace around my house, reading the manuscript aloud.” Bledsoe
  • Figure out what drafts are supposed to do. e.g. They can be systematic or intuitive. Bull
  • Make the story more specific during revisions. Shetterly
  • What really matters, is the story itself. Shetterly
  • It’s better to write a bad first draft, than no draft at all. Shetterly

We also talked about info dumps and the Dread PrologueTM, and how many of the info dumps can be avoided by choosing the right character when selecting which character is telling the story. We also mentioned how it’s okay to suck (you’ve no doubt heard me say that before), and how the senses are crucial to add in layers of worldbuilding. For example, Bledsoe mentioned that a sense of smell can really make a big difference.

I hope today’s wrap-up inspires you to write, write, write! And remember, you’ll never internalize or finish what you start unless you sit down and simply…write. GOOD LUCK!

    Mood: Luxuriating in this damp, windy weather.
    Caffeinated Beverages Consumed: Mostly managed!
    Work-Out Minutes Logged Yesterday: HAH HAH HAH HAH HAH.
    In My Ears: Tron Legacy soundtrack
    Game Last Played: Kingdom Rush
    Book Last Read: For research, not pleasure. Ergo…
    Movie/TV Show Last Viewed: Frozen. Because in my house, it’s a horror movie.
    Latest Artistic Project: Sewing project that turned out to be a pescatarian oni. Don’t ask! Am planning Halloween-related crafts, however.
    Latest Fiction/Comic Release: Gods, Memes, and Monsters
    Latest Game Release: Dread Names, Red List for Vampire: the Masquerade and Ghosts in the Black for the Firefly RPG.
    Current State of Projects: Read my latest project update. A new one coming soon! SOON I SAY!

Martial Arts Movies and My Flavor of Fandom

Big Giant Sword Fighting Avatar

A little known fact about me, is that I love martial arts movies and consider myself a fan. Today I am going to start with, what I feel, served as my launch pad into martial arts movies and my interest in art, games, books, movies, etc. from the Far East. Some of my earlier influences were Gremlins (1984), The Karate Kid (1984), Big Trouble in Little China (1986), Charlie Chan, and fables from Japan and China. In other words, it wasn’t any one specific thing, but a fascination that grew out of the American-facing snippets that I had access to about the Far East in general. As a kid learning and reading about new cultures for the first time, I was immediately drawn to the Far East for several reasons, and have been ever since to some degree. Mind you, I spent A LOT of time inhaling books as a kid and learned to read at an early age, and while I can’t say that I was immersed in pop culture, I definitely tapped into what I had access to, when I could.

Looking back, I can see this perfect storm of influences was further enhanced by Star Wars and a textbook I remember getting at a library sale. I loved (and still do!) Star Wars for many, many reasons. It wasn’t until much later that I realized one of the reasons why I loved these movies, was because there were Asian influences which I internalized. Darth Vader’s helmet, for example, was inspired by the samurai. But that, to me, really didn’t have as much of an impact as the relationship between Luke and Yoda did. The wise master teaching the young apprentice the ways of the Force, which was both mystical and powerful, which could be used for good or evil purposes… The swords that each Jedi protected and treasured, that were attuned to that warrior individually…(1)

As a kid growing up in the Midwest, I didn’t know the creative forces behind Star Wars, or understood movie magic, or thought about the specifics about the many Chinese and Japanese cultures, other than what I could get from the books I had access to. All of these faraway places(2) and stories from the Far East seemed, like the rest of Star Wars–magical. So, to uncover more “secrets” of the Far East, I turned to books. I don’t know the name of the textbook, but I do remember I had a book that was very colorful and was bursting with stories. In the textbook, there were colorful, three dimensional pictures of kirigami to illustrate the different fables. I do recall that Urashima Taro was one of them, and the other was a fantastical romance about a shapeshifting kitsune who fell in love with a wayward traveler. I loved these stories dearly.

Before I end this post, I want to add a comment about the gargantuan element in the room: Karate Kid. The thing about Karate Kid, for me, was that it sparked my enthusiasm to check out other films with martial arts in them, to get to the source. Yes, I very much understood that this was an American movie, and I didn’t have any issues with that–but it inspired me to start watching other films that fulfilled my desire for authenticity and more from the Far East.

Next time, I’ll make a paltry effort to start picking apart specific films, and see where this trail leads…

(1) If you’re interested in this aspect of Star Wars, check out Star Wars and Philosophy.
(2) They are on my list of places to visit some day, and I hope I’ll be able to afford to go.

    Mood: Pre-convention stress exacerbated by a hot, hot summer.
    Caffeinated Beverages Consumed: Now trying to figure out how to balance non-carbonated caffeine. In hell.
    Work-Out Minutes Logged Yesterday: Yogatastic
    In My Ears: Too much in between them!
    Game Last Played: Kingdom Rush
    Book Last Read: A big-ass stack for research. Again.
    Movie/TV Show Last Viewed: Um…
    Latest Artistic Project: Sewing project that turned out to be a pescatarian oni. Don’t ask.
    Latest Fiction/Comic Release: Gods, Memes, and Monsters
    Latest Game Release: Dread Names, Red List for Vampire: the Masquerade and Ghosts in the Black for the Firefly RPG.
    Current State of Projects: Read my latest project update. A new one coming soon!

Whispers in the Wind

Gromit Reading Avatar

I’ve had a number of people tell me over the past couple of months that I seem different, more relaxed and chill. This is true for a large number of reasons, some of which are diet-related, and others due to the fact that I’ve gotten closure on a number of long, drawn out situations that had been going on for a number of years. You’ll forgive me if I don’t expound on that last, but one of my coping mechanisms to having a public profile is that I need a buffer between me and Ye Olde Internet, so I tend not to post about the overly personal. Also: onions have layers. And, I’m related to Shrek in some fashion. I can pretty much guarantee it.

There are some things on my mind I do want to quickly address and share with you, so let me get right to it. Shanna Germain had mentioned on Twitter and Facebook that we should start proposing panels to cope with online harassment and negativity. I remember, many years ago, someone told me that Neil Gaiman had talked about professional PR training. (Like with many things in the sphere of the big “G”, I can’t confirm that as I don’t know him personally and didn’t find the exact quote, but I felt it was worth posting the original comment anyway, as it’s great advice.) I’ve been on the hunt for PR training ever since that time, and they don’t offer this service in my area. Panels, on the other hand, are a fantastic and welcome substitute for specific issues related to this topic. Having these conversations, I feel, is something that can help both new and established professionals who have a public persona and often find it difficult to cope with the eroding line between fan and creator, troll and victim. Many of my coping mechanisms are related to anchors that I do behind-the-scenes, so if you’re hoping for some things you can do in terms of sanity checks, let me know and I’ll draw up a post about it.

The second thing is that I’ve come to terms with the fact that, as I mentioned a few years ago now, I’m not the person to blog about contemporary topics or online kerfuffles. I’ve since come to terms with the fact that this is decidedly the case, as I do not feel a) qualified or b) able to keep up with the ever-changing nuances of particular issues. In addition to the time investment, I’ve realized that reading about these sorts of things does the one thing that I cannot allow — it impacts my work. When I was attending RWA meetings on a regular basis a while back, I remember Christine Merrill talking about how important it was to Protect The Work. I could see how Life, The Universe, and EverythingTM can get in the way of the work to some degree, but I didn’t grok that what’s happening online is a big part of that as well. For me, words are music. (It’s one of the reasons why I can mimic voices fairly well on the written page.) When I’m online, I hear dissonance. I hear vocal gymnastics and fireworks. I rarely hear the soft lullaby or the chirping of crickets during twilight. It’s always loud on the internet, and I need the exact opposite of that when I’m creating. I need that breathing room to stretch out and be safely free to roam.

There are, however, people that are doing amazing work and I’m going to try to shine the spotlight on them more often. My friend Emily Care Boss is one of those people. She was doing things in game design ten years ago that are just now starting to become more important. You can read more about her perspective on Gaming As Women and in this interview with Emily, here. The second person I want to mention today is Alethea Kontis. (Her name is pronounced Ah-Lee-Thee-Ah.) She’s recently put out a new collection called Tales of Arilland. Check it out!

That’s all I have time for today, since I just got back from CONvergence. I had a fantastic time, and there’s a lot of great things that came out of this show. Additionally, I had two firsts for my Build-a-World game show. (Three, if you count it was the last panel of the show!) First, some of the participants were so inspired that they now want to write in the world they created. Second, one of the participants, Martha Wells, did this fantastic write up about Build-a-World. Thanks to Martha, Catherine, Tex, Carrie, Paul, and John for participating, and to all the audience members who came out. It was a blast, and I’m happy to answer that “Yes!” There’s more on the horizon. Can’t wait to share all the news!

    Mood: This is my Chill Face
    Caffeinated Beverages Consumed: Managed!
    Work-Out Minutes Logged Yesterday: Convention recovery.
    In My Ears: Crappy rendition of Nothing Else Matters. Hey, you asked…
    Game Last Played: Ashamed to admit I have a new addiction. Kingdom Rush
    Book Last Read: [Research-Related]
    Movie Last Viewed: Ascension from SyFy
    Latest Artistic Project: Coloring!
    Latest Fiction/Comic Release: Gods, Memes, and Monsters
    Latest Game Release: Dread Names, Red List for Vampire: the Masquerade and Ghosts in the Black for the Firefly RPG.
    Current State of Projects: Read my latest project update. A new one coming soon!

Observations on Netflix’s Original Programming

darkwing duck avatar

I know I haven’t blogged in a while, and I deeply apologize for that. There’s been a lot going on (good and bad) in my corner of the universe, so my convention reports are slow going. I’ve been meaning to blog about Netflix’s original episodes for a while now, though, and I feel that the debut of Sense8 is a great opportunity to dive into my thoughts about Netflix’s original programming. Without further adieu, let me dive into why I feel that this is a landmark moment in television and fantastic for script writers.

Back After Commercial

American sitcoms, in particular, have traditionally been structured to map the story to based on when the viewer is watching the screen. However, even if placement is marked within an episode to account for commercials, the fact that the presentation doesn’t have them at all (or, in Hulu’s case has limited and repetitive commercials) is pretty important to how that show is received by the viewer. When you’re watching all scenes concurrently, you don’t necessarily see the seams that are present to account for commercials. This, in my mind, is especially true of Sense8. You don’t get any commercial breaks, so you’re essentially watching the episode from start to finish, even though you can pause at any point.

While the viewing a show with “no commercials” has been done for a while, I felt this was valuable to point out because a lack of commercials is an effective way to get viewers to watch original programming. I feel there’s a push-pull relationship between the audience and the writers here. There’s a difference between writing a show with no commercials in mind versus writing a show with them in mind. There is, however, also a difference between watching a show that doesn’t have any commercials versus viewing it in its entirety. That dynamic can lead to the overall experience of any series, and I’m of the opinion that this is one of Netflix’s selling points for their original series.

Release Schedule

To me, if and when episodes are released also have an impact on structure and audience feedback. If you’re releasing “an” episode a week instead of a full season’s story arc, that also impacts how the viewer may/will be left hanging. Once Upon a Time (Huge fan of that show, here…) is offered one episode per week on network television and is then viewable on Similar to LOST, it’s viewed in halves as opposed to the full run, so you get a smaller number of episodes before a break in the same season. In many cases, a previous season is then released on Netflix, so I can’t get the current content and I’m not guaranteed that it will hit Netflix at a particular point. This means I’m encouraged to sign up for and keep watching the current episodes over there. Any pre-packaged show that’s released as a full season doesn’t have the same issues as a show that is doled out week-by-week, because the number of viewers isn’t married to a time slot. The other issue I see with any temporal viewing of a show, is that once a TV show airs, it’s usually gone unless backed up by a secondary source. Due to the volume of media that’s out there nowadays, viewers have more choices than ever before to watch what they want, so I’m guessing the rate of abandonment could be a lot higher.

The “time slot curse”, to my limited understanding of what happened, is partly why Constantine didn’t get picked up again [link and link]. The show originally aired in a 10 p.m. Friday night time slot, and was moved for the last five episodes two hours earlier. I don’t envy the people involved in trying to figure out what would make this show work. The data for television viewing is now scattered across multiple platforms, because that’s how people are viewing TV shows now-a-days. That makes it hard to collate data to find out who’s watching what and when, especially since those methods were static for far too long.

Data collation and analysis is now far more sophisticated than it’s every been, and I’ve often seen decisions made based on an outlier or data that highlights a bigger problem (e.g. Like the time slot), as opposed to looking at trends and comparisons. That’s not to say that’s what is happening here, mind you, but I think there’s a case to be made for challenges with analysis when certain questions are important. If a decision-maker is just focused on the number of viewers, fans, etc. then there’s bound to be challenges with the outcome, because often the whys/hows/whens paint a broader and more complete picture of what’s going on, since the data is the result not the reason for what’s going on.

Mind you, as a creative professional myself I don’t always feel that data-driven decisions are what’s best for any show creatively, but they are the nature of the beast since money is a factor. In Constantine‘s case, I feel the massive cancellation rumors that began to swell last fall before the first season was done being aired turned a number of viewers off. Rooting for the underdog is one thing, but most viewers–including myself–want to see a Season 2 especially if the first season ends on a cliffhanger. Otherwise, what’s the point in getting fully vested in a show that’s about to be canceled? By the time the show changed time slots, it was too late — which is unfortunate. I really liked this iteration of Constantine and was hoping it’d find a home. Still do.

Fortunately, Netflix doesn’t have to worry about time slots or data collection issues outside of some potential lost data that occurs from certain browsers or platforms. Thus, there’s a distinction to be made between any show that’s sold pre-packaged, as it also seems to be the case with Netflix [Link], versus filming episodes on-the-fly per whatever the contract terms are. I’m of the opinion that longer contracts are better for shows all around, because the end result always seems to be of a higher quality. Babylon 5, in my mind, is a stellar example of television because the show had a determinate plot that breathed specifically and intentionally over the course of a few seasons. While there were some lighter-themed “Here’s the space station issue of the week” stories in each season, the metaplot and build up to that end game seemed to have been designed from the beginning. Often, the opposite seems to hold true. There’s no doubt in my mind that Whedon’s Firefly and Dollhouse, had they been extended beyond their short life spans, would have given him even more opportunities for his stories to breathe, especially given his expert handling of ensemble casts.

No Need to Press “Record”

As a follow-up to my previous point, the fact that a viewer can log in at any time to watch (or rewatch) any episode within a particular show is a Pretty Big Deal to me. Netflix logs where you stop watching the series and a specific episode so you know where you left off. You don’t have to set up a TiVo or sit around pressing the Record button; it’s simply there for you to watch when you want to. To me, this means that the act of viewing an episode is more passive than active, because viewers simply need to log into Netflix and watch the show whenever they want. No other action is required. I feel that means that the hook for the show better be damn good, because if all viewers need to do is show up, there should be a compelling reason why that is.

Though their original programming is newish, many of the later shows appear to be more unique than they were in the past, even approaching demographics (age/sex/etc.) that are often underexplored in the television format. I don’t want to derail this post too much, but I feel that this has allowed creative professionals to be more creative, to take more risks, and to tell the fearless stories they’ve been dying to tell. To me, this opportunity has to do more with money than anything else. Translation: in many verticals, investors often play it safe by basing their purchase decisions on what came before, instead of taking a chance on something new, because the data exists to show what worked and what didn’t. However, with so many options for viewing trying to grab people’s attention, I feel we’re now in a television renaissance.

Censors, Censors, Censors

The F-Bomb. Sex. Graphic violence. Etc. Etc. Etc. Netflix doesn’t seem to worry about censors. This has opened the door to writing that doesn’t typically need to follow certain guidelines that have been in place for years, which allows creators to take certain risks according to the needs of the story they want to tell, as opposed to the story they have to tell within the confines of certain guidelines. With no commercials and no language/content restrictions, shows can take more risks of an experimental nature. Though the structure is dependent upon a certain number of minutes which is, in Sense8‘s case 48 minutes long, the writers and producers do seem to be less confined. Some comparisons could probably be made to cable television shows, especially when they first aired back in the day, and I feel that there are some parallels to that evolution given the nature of how original programming is also making waves.

Thoughts on Sense8

So far, I’ve seen the first couple of episodes of Sense8, and in my mind there’s a certain amount of comic book-style storytelling that’s occurring in this show. Looking at similar shows in the genre, namely The 4400 and Heroes, Sense8 seems to be heading toward a specific ending in mind that makes sense for the overarching plot. First, we have to get “to” the plot — which is shrouded in mystery. I feel this was intentionally done, because there’s a specific story-related issue that will arise from a plot where eight strangers from around the world are interconnected telepathically. Once they master their shared abilities, whatever those happen to be, then there’s a good possibility that there’s no where else for them to go. That conflict, and the conflict with the outside force that hunts them, has to be introduced slowly. Otherwise, there’s no hook anymore.

While I haven’t nerded out enough to see how many minutes are devoted to the characters, they have mostly been shown (so far) in pairs each time they appear. The eight characters that are located around the world give the plot some weight, because any organization that’d be after these individuals would have a much harder time trying to find them. Also, the use of an ensemble cast is a fantastic way to highlight diversity either in a specific city or, in this case, to show how truly random these characters area. The ensemble cast, in particular, is something I think a lot of writers should pay attention to. There’s a lot of rich characterization with these characters that goes beyond ability, and I feel it’s worth watching for that reason.

Anyway, those are my thoughts on Netflix, original programming, and television at the moment. Television is such a fun format, and I’m glad to see there’s some innovation happening. Exciting times!

    Mood: 50% Zen. 50% caffeine withdrawal.
    Caffeinated Beverages Consumed: Some, trying to get a handle on it. Cut out diet soda. Feel awful.
    Work-Out Minutes Logged Yesterday: Three blarghs for leg lifts.
    In My Ears: Some crap that’s classical mixed with east coast house. Me no likely.
    Game Last Played: Sonic All Stars Racing Transformed
    Book Last Read: I have a stack next to my machine for research.
    Movie/TV Show Last Viewed: On Season 2 of Agents of S.H.I.E.L.D.
    Latest Artistic Project: Um…
    Latest Fiction/Comic Release: Last Man Zombie Standing.
    Latest Game Release: Gothic Icons, Smuggler’s Guide to the Rim, and Ghosts in the Black
    What I’m Working On: Read my latest project update. Plus, pitching. Oy.

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