NAME: Atlas Venom
AGE: 53
OCCUPATION: Dragon Barbarian
CANON: Zeromancer (both incarnations)
It shouldn’t be a secret anymore that my favorite character class in any RPG setting is the barbarian. It’s been that way since I’ve played Hero Quest in the early 1990’s, Diablo II in the early 2000’s, and Dungeons & Dragons 3.5 Edition in 2010. I also happen to be a big fan of dragons. They’re big, they’re nasty, and they breathe fire. It wouldn’t matter if it was a real dragon or one in humanoid form, fuck it, I love them anyways.
What do you get when you combine a favorite class with a favorite race? You get Atlas Venom, Dragon Barbarian. He’s got the scales and fire breath of a dragon and the heavy metal armor and giant battleaxe of a barbarian. You talk about crossover heaven? That’s it, man. End of story. Atlas motherfucking Venom.
As you can tell from his canon, Zeromancer had two different incarnations. One of them was as a movie script in 2009, which served as a prequel to Tower of Heaven, Tower of Hell, and No Towers No Bullshit. Zeromancer explained the origins of the trench coat wearing and machete wielding magi assassins as well as those of the Demonic family bloodline.
But more importantly, it had Atlas Venom as a side character. He was everything you could ever want in a heroic ally: big, strong, powerful, and capable of mowing enemies down while creating a thunderstorm of blood around him. Of course, this was before I knew what a Gary-Stu was. Atlas was very much a Gary-Stu since he just appeared out of nowhere without a background story and only his fighting skills to lend to the party.
The other incarnation of Zeromancer was a four-act novel, each act containing a completely different set of characters only for them to come together in the fourth and final one. Atlas could have just as easily created a storm of blood with his battleaxe prowess and fiery breath. But since he was billed as the main villain of act one, if he did this, we’d have no characters. I often wondered what would have happened if Atlas just went nuts and flattened an entire continent full of people.
The heroes of act one were no slouches, don’t get me wrong. Kento Bladecaptain was a robotic knight who was just getting the hang of feeling emotions despite warnings against it from his dark magic masters Calco and Tazz. The two wizards were so pissed off with Kento that they actually aligned themselves with Atlas Venom.
So now we’ve got a pissed off dragon barbarian and two dark wizards who team up to kick the shit out of the good guys. If it wasn’t for the hyperbolic writing style I employed throughout this story, I could have had an epic confrontation here. Why would I ever think hyperbole was an acceptable writing style? Maybe in comedies, but not if I wanted to be taken seriously as an action-fantasy author.
If I ever decide to use this overly powerful Gary-Stu in my novels again, he’ll definitely be a villain and he’ll need some personality. It’s not enough for him to be a pissed off dragon barbarian who rages through entire planets and slaughters everyone in his path. He needs a reason. He needs strategies. He needs minions. If he was just a mindless berserker, he wouldn’t need to be called Atlas Venom. He could just be a nameless force of nature. But I don’t want that for Atlas. I want him to be a respectable villain.
For a villain of that power to be believable, we have to go back to his barbaric roots. I know I mentioned Hero Quest as one of my influences, but Diablo II was the biggest influence I had when it came to my love of barbarians. And Diablo II had a pain in the ass mega demon for a final boss: Diablo himself. This guy would shoot flame circles and streams of lightning at the players and kill them off instantly. He could do it forever and ever since enemies don’t have a mana pocket.
What made him even more dangerous was Diablo’s motivation: bringing evil to the world. The middle ages were already a tough time for a lot of people, but with Diablo at the helm, it’s nonstop hell. What if Atlas Venom had a similar motivation? What if his form of hellish evil was his barbarian tribe of disgustingly powerful monsters? He might even be able to steal a catchphrase: “Not even death can save you from me!” It’s not enough just to kill someone; Atlas has to send chills down their spine. He can do that if I give him the breathing room to.
One of the ways I made Atlas creepy in the second Zeromancer was by giving him the facial features of a clown. He was still a hideous dragon, but he had clown features as well with white face paint, a goofy nose, and colorful hair. As if clowns needed more reasons to be scary, right? Perhaps it was overkill. Perhaps it was me trying too hard to make him an intimidating villain. If I actually believed the latter, then that’s basically me surrendering to the idea that we can’t have dragon clown barbarians. I say we can. It’s possible if you picture it in your mind. Pennywise and Ronald McDonald would shit their pants at the sight of Atlas Venom if he adopted a clown gimmick. Ooo, talk dirty to me!
If I reincarnate Atlas Venom, I’m going to attempt to have my cake and eat it too. He fits every archetype I could ever love in a dark fantasy character, dragons, clowns, and barbarians aside. With this many archetypes, he could actually be a believable villain with the creepy dialogue and disgusting facial expressions. I believe in him!
***MOVIE DIALOGUE OF THE DAY***
RESTAURANT MANAGER: Quit being a hero! You’re going to get us all killed! Give him what he wants so we can all get out of here!
JULES: Shut the fuck up, fat man! This ain’t none of your goddamn business!
-Pulp Fiction-
Showing posts with label Jules Winfield. Show all posts
Showing posts with label Jules Winfield. Show all posts
Monday, May 4, 2015
Sunday, February 1, 2015
Pulp Fiction
MOVIE TITLE: Pulp Fiction
DIRECTOR: Quentin Tarantino
YEAR: 1994
GENRE: Crime Drama
RATING: R for violence, blood, frequent vulgar language, and sodomy
GRADE: Extra Credit
The overall Pulp Fiction story is a telling of four different crime stories and how by the end of the movie they all intertwine into one underbelly tale. The first quarter of the movie sees low-rent hit men Jules and Vincent retrieving a valuable briefcase for their boss Marcellus Wallace at the expense of the punk kids who stole it.
The second quarter sees Vincent taking Marcellus’ wife Mia out for dinner and dancing at Jack Rabbit Slims and then having to revive her after an overdose.
The third quarter sees heavyweight boxer Butch Coolidge double-crossing Marcellus and then having to secretly retrieve a valuable golden watch from his apartment.
The final portion of the story goes back to the first where Vincent accidentally shoots an informant in Jules’ car and the two of them need to get off the road for a while. Four tales of bloodshed, forced sex, and drug abuse; what else could you ask for in an R-rated crime drama?
There are many theories as to why Pulp Fiction isn’t shown chronologically. My personal theory is because of each character’s path to development. The further the movie goes, the more personal and profound the development.
The first story shows Jules and Vincent doing their job successfully and retrieving a stupid briefcase. It’s early in the story, so not a lot of development will take place.
The second story sees Vincent shooting adrenaline into Mia’s heart and the two of them going from being awkward strangers to the best of friends.
The third story sees Butch rescuing Marcellus Wallace from being sodomized in a pawn shop and the two of them resolving their differences.
But the fourth story, as in the middle of the chronology, is where Jules transforms from a heartless mafia grunt to a soldier of God and the spreader of peaceful messages. We start off with retrieving a stupid briefcase to a total heel to face turn, with some friendships made in the middle. It doesn’t get more developed than that.
The one element of the story that really turned this movie into a cult classic was the dialogue Tarantino wrote for each of his characters. The director grew up in the underbelly of society and absorbed a lot of the vulgar, racist, and sexual dialogue that was used by those criminals.
Criminals have no need for class or political correctness, so the dialogue is perfect for this movie. I’ve personally tried to adopt Quentin Tarantino’s style of speech into my own writing and it sounded sloppy. Mr. Tarantino is the master of what he does; often imitated, never duplicated.
Because of such colorful and creative language, Pulp Fiction is easily one of the most quotable movies of all time. To me and my family personally, quoting this movie is a tradition. There was even a time when I had the entire movie memorized.
Every conversation in this movie counted for something whether it was the sensuality of foot massages, the absence of a certain “sign” in front of Jimmy’s lawn, pigs being filthy animals and therefore inedible, or two rapist serial killers using a child’s nursery rhyme to randomly determine their next victim. If your ears aren’t open for this kick-ass dialogue, then you’re missing out on a huge portion of what makes this movie special.
After hearing everything that needs to be heard, do you at all feel like taking out your wallet (the one that says “Bad Motherfucker”) and forking over some cash to see this 90’s classic? Not only will you say “yes” one time, but you’ll watch this movie over and over again until every last word is etched in your mind and you can recite the whole thing by heart.
It should be no surprise that a movie with this much of a lasting effect would get an Extra Credit grade not only from little old me, but from every movie critic on the planet. That is, unless of course you have a 5th grade point of view and are too grossed out by the sodomy in the third story (but are perfectly okay with Butch performing oral sex on his girlfriend).
DIRECTOR: Quentin Tarantino
YEAR: 1994
GENRE: Crime Drama
RATING: R for violence, blood, frequent vulgar language, and sodomy
GRADE: Extra Credit
The overall Pulp Fiction story is a telling of four different crime stories and how by the end of the movie they all intertwine into one underbelly tale. The first quarter of the movie sees low-rent hit men Jules and Vincent retrieving a valuable briefcase for their boss Marcellus Wallace at the expense of the punk kids who stole it.
The second quarter sees Vincent taking Marcellus’ wife Mia out for dinner and dancing at Jack Rabbit Slims and then having to revive her after an overdose.
The third quarter sees heavyweight boxer Butch Coolidge double-crossing Marcellus and then having to secretly retrieve a valuable golden watch from his apartment.
The final portion of the story goes back to the first where Vincent accidentally shoots an informant in Jules’ car and the two of them need to get off the road for a while. Four tales of bloodshed, forced sex, and drug abuse; what else could you ask for in an R-rated crime drama?
There are many theories as to why Pulp Fiction isn’t shown chronologically. My personal theory is because of each character’s path to development. The further the movie goes, the more personal and profound the development.
The first story shows Jules and Vincent doing their job successfully and retrieving a stupid briefcase. It’s early in the story, so not a lot of development will take place.
The second story sees Vincent shooting adrenaline into Mia’s heart and the two of them going from being awkward strangers to the best of friends.
The third story sees Butch rescuing Marcellus Wallace from being sodomized in a pawn shop and the two of them resolving their differences.
But the fourth story, as in the middle of the chronology, is where Jules transforms from a heartless mafia grunt to a soldier of God and the spreader of peaceful messages. We start off with retrieving a stupid briefcase to a total heel to face turn, with some friendships made in the middle. It doesn’t get more developed than that.
The one element of the story that really turned this movie into a cult classic was the dialogue Tarantino wrote for each of his characters. The director grew up in the underbelly of society and absorbed a lot of the vulgar, racist, and sexual dialogue that was used by those criminals.
Criminals have no need for class or political correctness, so the dialogue is perfect for this movie. I’ve personally tried to adopt Quentin Tarantino’s style of speech into my own writing and it sounded sloppy. Mr. Tarantino is the master of what he does; often imitated, never duplicated.
Because of such colorful and creative language, Pulp Fiction is easily one of the most quotable movies of all time. To me and my family personally, quoting this movie is a tradition. There was even a time when I had the entire movie memorized.
Every conversation in this movie counted for something whether it was the sensuality of foot massages, the absence of a certain “sign” in front of Jimmy’s lawn, pigs being filthy animals and therefore inedible, or two rapist serial killers using a child’s nursery rhyme to randomly determine their next victim. If your ears aren’t open for this kick-ass dialogue, then you’re missing out on a huge portion of what makes this movie special.
After hearing everything that needs to be heard, do you at all feel like taking out your wallet (the one that says “Bad Motherfucker”) and forking over some cash to see this 90’s classic? Not only will you say “yes” one time, but you’ll watch this movie over and over again until every last word is etched in your mind and you can recite the whole thing by heart.
It should be no surprise that a movie with this much of a lasting effect would get an Extra Credit grade not only from little old me, but from every movie critic on the planet. That is, unless of course you have a 5th grade point of view and are too grossed out by the sodomy in the third story (but are perfectly okay with Butch performing oral sex on his girlfriend).
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