Wednesday, April 19, 2023

Keeping the Outside Worries Where They Belong

 Bizarrely, yes, this blog about being a writer is now starting to see actual posts about being a writer.

I've been hard at work on my novel, which I'm going to avoid being specific about for various reasons, one being that I fear writing too much in describing it will make it harder to actually write the damned thing.

The main thing now is page count. It's funny, when I was a kid in school, first writing essays in middle school English class, I remember how I'd struggle to expand my thoughts and ideas to fit the minimum length needed for a passing grade.

Now, of course, I have the opposite problem.

I've just done some outlining for an arc - not the full story, but just a fraction, albeit an important fraction, of my main character's overall arc. Think of it like the part of The Godfather where Michael goes to Italy for a bit (though my character is nothing like Michael Corleone).

I've been trying not to get too tied up in outlining - as a perfectionist, I often encounter a Zeno's Paradox issue, where I start writing a story, then decide I need to go back and do an outline, then get stuck on the outline because it's not as fun as actually writing the prose of the story, but also feeling like the outline has to be perfect before I can go back to writing the story, and then... you get the idea - you try to do everything with the proper level of planning and preparation and you wind up getting stuck on the planning and preparation.

 I wrote in the last post about how a big part of my process on this project has been to set aside the need to write and only write when I actually want to, and feel the creative juices flowing. That did mean a several-month pause in my progress, but one or two weeks ago I found myself ready to write the next part of it, and I've been plugging away joyfully.

Worries bombard me, though. And one of those worries is how long this creative burst can last.

But what I am telling myself is that I don't have to get it perfect on the first go. Hell, I don't have to get it perfect at all.

I currently have a total of 93,851 words written (to be fair, a few of these are like "Chapter Two: Such and such," but I don't think those are statistically significant. Now, according to the top Google results, the average novel length is 70k to 120k words. Which means that I'm actually really close to the midpoint of that average.

But I have a long way to go.

I will say that I do think I've well and truly finished the beginning of the story. The main protagonist and the two secondary protagonists are on their paths, past "Plot Point One" as we'd say in screenwriting terms.

It remains to be seen, though, how long this story is going to take to tell it. There's so much stuff I want to get to, and that's without doing a formal outline!

Now, I imagine that at some point in the future, I will need to go through and mercilessly cut things down. Who knows, maybe this entire plot arc I'm starting will wind up on the cutting room floor. But while I'm trying not to set any hard and fast rules for my process and just let the story happen, I think I'm going to hold off on cutting it down until I've gotten the full story out.

And hey, the last book in The Dark Tower series was 272,273 pages, so maybe I've got the room (that was the last book in a seven-book series, too, while my intention with this is to just be a single self-contained novel. But also, Stephen King by the time he wrote that one had enough clout to keep the editors at bay. If this book ever gets published, I'd prefer that I not break anyone's wrist with it.)

While I'm not outlining it, figuring that I want the characters as I write them to guide the plot, rather than feeling like they're on rails, I have been trying to take notes of good ideas I come up with. It's just that the most recent set of notes basically created a whole lot of story beats that add up to a plot for the arc.

Anyway, I'm writing the story in different parts, which I can edit and rewrite separately to keep myself sane (being careful to do my best to avoid continuity errors). I've sent the third draft of part one off to a number of friends, and I'm hoping they'll give me some feedback on that (and I also feel nervous, wanting them to enthusiastically love it so that I am reassured that I'm a decent writer but also want them to care enough about it to give me meaningful notes on how it can be improved, but also kind of desperately want them to love it and say it's already amazing because my self-esteem is too tied up in my talent as a writer).

Now, I've got a dream - a hope for this book. I want to get it published, and I can just imagine how much joy it would bring me to see it on the shelves of a book store, and to hear about people reading it and finding some meaning in it.

Again, I'm nervous too - exposing one's work is an invitation to criticism.

I'm not at that step yet. I think in the past that step has seemed so far, far in the future that it may as well be something mythical. But I would like to see that become reality.

Really, for now I just want the story to flow and let it find itself on the page. The process of sharing it, and actually putting it in the hands of those who would make decisions about whether it's worthy of publication, is something that I don't have to think about right now. And, much as my process of just letting the writing happen when it does has been a key to productivity (so far,) I think I'll need to take a similar approach to sharing and pitching it. (Man, even saying "pitching," not to speak of "selling," stresses me out a bit. I guess that tells me I shouldn't worry about it yet).

(But, like, make no mistake: there's a dream down the line that this book gets super popular and someone makes a gorgeous screen adaptation. I mean, the dream, ever since I was six, was to get to see my own stories realized so that I could be there in the audience.)

Saturday, April 15, 2023

Making Progress By Letting Myself Not Make Progress

 I've never published any of my writing, unless you count my blog, Dispatches from Otherworld. That gives me a lot of doubt over my identification as a writer. Ever since I was a kid, I've been writing stories, and I even got a college degree in dramatic writing, but I've always had a huge amount of anxiety about actually putting my work out there in a way that forces me to let someone else tell me whether it's good enough or not.

And lest you respond "well, that's just what it means to be a writer, so tough it out," I'll tell you I've told myself that for the past fifteen years or so, and it hasn't helped me produce anything.

Two years ago, I started writing, of all things, the backstory for a Dungeons & Dragons character (I think the reason I became obsessed with this game when I started playing eight years ago is that it's basically improvisational collaborative novel writing). But after this story ballooned out to over ten pages - far beyond the length that I'd force a game master to read for context and to inform NPCs and other plot elements that they might want to incorporate into a campaign - I realized that I didn't really want this story to be just for a game that would ultimately be told collaboratively and with another person having the greatest hold on the reins of the plot (and, to be honest, the subclass that the character would most logically take is also one I don't have a lot of interest in playing).

So, I took the lengthy backstory and rewrote it, instead, as the beginning of a novel. This wasn't terribly hard - my preparation for playable characters usually lends itself to a novelistic writing style, so it was mostly about expanding upon important conversations and events in that backstory.

This true first draft of the first part of the story - which I considered a prologue until it reached nearly 40,000 words - I finished while waiting at Logan Airport for my flight back to California, after having spent some time on the east coast for a friend's wedding around Halloween (appropriate, given that the story has many gothic horror elements, not the least of which is that the main character is a dhampir, or half-vampire).

The feeling of accomplishment there was fantastic, but I decided that I should refine the draft, iterating on it, and feeling like I needed to polish it before I could begin the second part (I don't know how many parts the novel will have, but I'm beginning to suspect that it will be a long book).

That, as it turned out, had something of a chilling effect on my writing. I certainly made some changes to what I had written that I think improved it significantly - for one thing, I made the secondary protagonist's motivations easier to believe, and in so doing I think I also gave her a richer characterization. But I was gunshy about actually writing more, in part because I wasn't precisely sure how to continue.

But, about a week ago, I found myself writing again - the plot jumped forward two years, and the focus went from the primary protagonist to two secondary ones. Indeed, the main character of the story is absent for nearly the entirety of part 2, and this shift in perspective gave me a great deal of forward momentum.

Now, I do have some worries here - if part 1 was all about getting the main character on the path toward the meat of his story, part 2 is sort of doing the same for the other two characters, which means that I worry that a reader will need to get through 70,000 words before things truly get cooking. Certainly, editing will slim that down a bit, and I also need to recognize that it's not as if nothing happens in these first parts of the story - in fact, quite a lot of things do.

I also think, on a philosophical level, this is perhaps part and parcel with my own struggles with adulthood. As of last year, I've spent more time in my life as an adult than I ever did as a child, and there's a sort of anxiety about feeling that I'm still only just getting started - that I'm waiting for my life to begin.

Perhaps, then, the lesson to bear in mind both in the story I'm writing and in my own life is that we're constantly starting and getting going. That there is no solid state of being a full, functional person, at which point you get to simply relax and coast.

I have dreams that this book will be published, and that people will love it. In our social-media age, even if the platforms and their effect on us is probably toxic, I nevertheless dream of writing something that inspires someone to make fan art. I've never been particularly talented when it comes to visual art, and the idea that my words could inspire someone is truly a dream of mine.

And, of course, there's the hope that I'll get some glossy book, and find it with some staff recommendation card at a book store.

I want that external validation that my writing is good, that it means something to someone. But what I've needed to do for this is to just toss out those expectations. I've approached this in a very different way than I typically do.

I love worldbuilding, but when I started to write this D&D character backstory, I left the details vague so that I could plug him into whatever world in which a friend might want to run their game in. But now, this has actually given me a license to make up the world as I go along. The goal here has been to let the characters drive the story forward, and to let them go where they will.

Now, did that stop me from coming up with an absolutely crazy, genre-busting origin for the protagonist's vampire father, who serves as the chief villain (if such a thing really exists) of the story? Not at all. Worldbuilders gonna worldbuild.

But there's been some kind of taoist ethos I've tried to adopt where the writing happens when it's going to happen, and I try not to pressure myself to make it happen when it's not going to. And yeah, I just wrote like 40,000 words in the past week, so I think it's paying off.

Tuesday, April 4, 2023

Artificial Intelligence, Art, and Capitalism

 My father is a professor of computer science at a world-class university, a veteran of the field who has been teaching there since the mid-1970s. So, computers, and their applications like artificial intelligence, have always been something I know a little about, even if the actual science and engineering behind it is a little beyond my bachelors of fine arts education.

On a philosophical and even spiritual level, I've tended to think of the creation of artificial intelligence as a good thing. In Jewish folklore, there is the concept of the Golem, which is most famously explored in the story of the Golem of Prague, a defender of the ghetto created by Rabbi Loew (a real, historical figure). While the Golem story is, I believe, often given a Frankenstein-esque horror tone in which the creation of a new life is seen as an act of hubris punished by violence in re-tellings, there's another, possibly truer version that makes the golem an imperfect, but ultimately heroic figure. Indeed, as explored in The Adventures of Kavalier and Clay, a direct line between the Golem and the American Superhero archetype is drawn (notably, most of America's most beloved superheroes were created by Jewish writers and artists, and during a time when Jews around the world really felt they could use a defender).

As I understand it, the act of creating the Golem was only possible by a sufficiently righteous man. There's an idea in both Judaism and Christianity that imitation of God is the way you live a righteous life, and so rather than an act of hubris, the creation of the Golem is an attempt to follow the example set by the divine - just as God did with Adam, the Rabbi creates the Golem from clay.

Furthermore, I grew up with a love of science fiction. And one of the most important and favorite characters to me was Data, from Star Trek: The Next Generation, a show that came into the world not long after I did, premiering the year after I was born.

While there are certainly several episodes that see Data acting in alarming, unpredictable ways that endanger people, the overall attitude the show takes toward him is one of love and acceptance. His presence on the ship is a positive for everyone, and despite his profound, superhuman technical competence, he demonstrates no desire or will to take over the ship or the duties of others. Instead, he wants nothing more than to feel and be treated as part of the crew. And the environment that Captain Picard, as the sort of ideal paternal authority, creates, is one in which he is accepted as a friend and colleague.

It is a dream, I think, of humanity to create something like Data. If we could bring life to a new form of intelligence and teach it kindness, ethics, and responsibility, we would be all the richer for it. In a certain way, it would be like bringing about humanity's offspring. But we have anxieties about offspring, don't we? Greek myth has a pattern of the top, paternal god always being toppled by their son. Oranos' dominance is usurped by Cronus, and then Cronus' dominance is usurped by Zeus. Zeus, then, spends a great deal of effort trying to ensure that none of the absurd number of kids he's fathered will be the one to rise up and take him down.

We fear our creations, because they always result in unexpected consequences. In an epoch (one that, it can be easy to forget, has not yet lasted a century) where we have weapons that could turn our planet into an irradiated boneyard, there is a fear that any unpredictable intelligence could, and perhaps inevitably would, decide to exterminate us.

But the truth is that we really don't know where A.I. will go.

What I think we can see is the danger of how we're thinking of applying it.

In the past year, we've seen the rise of Chat-GPT, Dall-e, and other A.I. systems that take in vast amounts of sample data, which then allows them to produce text or images or music, or what-have-you that does a remarkable job of imitating the real thing. You plug the Complete Works of Shakespeare into one of these things and then ask it to write a sonnet about playing Fortnite, and you'll get some impressive mash-up of rhyming couplets and modern video games. (To be clear, that's not an example I've seen, so I'm not sure how successful it would be in this particular case).

Removed from the dire consequences of how it might be implemented, this is really interesting research material. My dad asked one of these (I think Chat-GPT) to produce a summary of his career, and what he got was a very well-written, plausibly professional short biography that just so happened to, with great authority, state that he was born two years before he actually was, claimed he got his PhD at Stanford (he went to Caltech,) and that he, the person who had made this request, had died in 2016.

What that demonstrates, as I understand it, is that this particular model has gotten really great at putting together sentences that seem sensible and plausible, with a flow of words and sentence structure that makes it seem very much like a professional writer is producing them. But that's it - it sort of guesses at the facts (and to be fair, the person described in that biography could be very similar to my dad - it got some of the details right) based not on a real understanding of them, but more that his name often finds itself in documents that also contain references to, for example, Stanford (when I was 3, and then when  was 11, we lived in Palo Alto for a year while my dad did a visiting professorship there on his sabbatical, but he was never a student there).

What's interesting about these models is that they learn by looking at other works - they study vast amounts of text, or in the case of Dall-E, vast numbers of images, and discern some sort of rule about the patterns that are most common within the medium. At no point to you sit down and teach Chat-GPT about grammatical structures like "subject-verb-object," instead it just notices that these words tend to come in this order, and therefore it will tend to put them that way.

Now, this feels, then, like the perfect example of the "Chinese Room" thought experiment, which argues that these A.I. models are not building intelligence, but rather the hollow illusion of intelligence. The Chinese Room was a rebuttal to the Turing Test (which more or less, as I understand it, says that if a computer talks to you in a way that is indistinguishable from a person, you must assume that it possesses real intelligence,) but counter-rebuttals have argued that we're actually overselling the uniqueness of human intelligence, and that we, ourselves, just figure out the right order for words over time and kind of "fake it 'til we make it."

Personally, I've always found myself more sympathetic to the Chinese Room argument, and that human minds are not just behavioralist input-output machines, though I recognize that when it comes to skepticism of artificial intelligence, it's easy to find oneself moving the goal posts. One of the best episodes of The Next Generation, The Measure of Man (rarer still that such a good episode comes in one of Next Gen's rather not-great first two seasons) has Picard forced to act as a lawyer for Data, arguing for his sentience and bodily autonomy, when a researcher from a prominent research institution believes that, being an android, Data's actually more of a piece of equipment that he has every right to requisition for research purposes (research that would involve disassembling him to see how he works). In the case of Data, whom the show clearly portrays as being not only likable, but also probably sentient and definitely intelligent, there's no question that our sympathies are meant to rest with Data and the argument to allow him to choose not to participate in this risky study.

And yet, certainly among any technology that has been developed as of the modern day, my tendency would be to treat it as simply machine, and assume that there is no inner life that would be threatened by dismantling it. I wonder if I will live to see a day when the line is actually blurred to the point where I'd find myself facing a Data-like figure whose rights I would feel the need to defend.

I certainly believe in human rights. In fact, despite not being a vegetarian, I also believe in animal rights (actually, as far as technology goes, I'd be very happy to see a way to grow meat that doesn't require an animal to die or suffer for us to eat it, if and when the technology to make it A: environmentally sustainable, B: safe to eat, and C: taste good, exists). I'm also agnostic on whether we live in a strictly material world or whether there's some transcendent aspect of reality where consciousness exists. In other words, I don't know if we have souls or not.

Ultimately, our brains are naturally evolved meat-computers. But whether the processing of information in these giant neural networks actually produces the experience of consciousness, or if we have some ethereal, extraplanar essence that the brain merely feeds input into... I don't know. I hope for the latter (largely because it could mean that one could truly persist as a conscious being beyond one's death), but at the same time, if that is the case, why should we be so sure that our organic meat-brains have attached souls but synthetic computers cannot?

These heady questions are going to continue to be some of the most fiercely debated ideas for as long as humanity will be around, I think.

What worries me, then, about A.I, is not really all that, but rather, capitalism.

And to be clear, let's make some definitions. I am no student of economics. I'm just someone who was born in the Reagan era and have basically seen a world built on the premise that unfettered pursuit of wealth is the right and proper structure of society, and seen how that structure seems to produce a collapsing, deteriorating world where comfort and security is becoming less and less attainable and future generations have things worse off than older ones.

When I say capitalism, I'm using this in the broad, political sense of the modern day, meaning a value system that considers perpetual growth, perpetual wealth accumulation, and maximizing short-term gain to be the highest goals, and where ethical considerations and social responsibility are an obstacle to overcome, or at best, an optional side-goal.

Dall-E, the image generating machine learning system, infamously sweeps the internet for images to train on, analyzing them and building a set of rules by which to create new images. The result, then, is that, often, fragments of artists' work can find its way into the system's output - hilariously and damningly, there are a number of images that have been produced that actually have a distorted, but sometimes still legible, Getty Images watermark, making it clear that the system trained on images hosted by the famous stock-photo website - photos that Dall-E did not pay one cent to use.

And therein lies one of the big dangers: many enthusiasts for these systems have touted them as a way to "democratize" the creation of art. That this will allow anyone to be able to produce the images in their heads, not having to find and pay artists to produce them. But not only does this argument seek to portray members of a profession that, famously, does not pay well for the vast majority of its practitioners as greedy misers - the "man" to which one can "stick it" - it also straight-up steals their work to produce its product.

Now, you could make the following argument: doesn't an artist learn to paint by looking at other paintings, imitating their styles and techniques, to produce something new? And I honestly don't have a well-formulated rebuttal.

Instead, where I think the problem lies is who is holding the reins.

We're in an era when companies, and certainly in the tech world, are trying to centralize and monopolize. It's actually part of that same capitalist impulse of wealth-accumulation. Just as the rich want to concentrate more and more wealth at the top, the equivalent companies want to accumulate business power and market share. When I was in middle school, there were a bunch of different search engines people used. Then, Google showed up and was much better, so people started using it. And its origins were humble - literally, my dad came home from work one day and told us that some Stanford grad students had put together a really clever, efficient search engine that we should start using. Two decades and change later, and Google is now synonymous with doing a search on the internet - goodbye Alta Vista, bye-bye Ask Jeeves, so-long Yahoo (wait, Yahoo, are you still there? Weird).

And the practices of Google have tended toward greater centralization. Hell, the website that hosts this blog is owned by them. But also, even within their searches, when you ask a question, rather than pointing you to a website that has the answer, it seeks to extract that answer from the website, which then has you only using Google (I looked up which season that Star Trek episode was, and looking to the next window of my browser - I never got used to using tabs - I just googled it and found a big summary of the episode next to all the search results, including its season and episode number, without clicking on any links).

Google and Microsoft want to use Chat-GPT-style language models to answer questions posed on their search engines (yes, MS is still trying to make Bing a thing). In other words, rather than extracting information from particular web pages, they want to have an AI extract information from the whole internet and present it in an easily-readable, professional-looking manner.

But, as my dad's inaccurate and premature obituary demonstrates, just because something reads well doesn't mean it's actually correct or useful.

And dear lord, it's bad enough with actual humans writing intentional disinformation to try to swing politics one way or another. We're in an era when confirming facts is very difficult, and now we want to make the authority for truth a bunch of thoughtlessly credulous language simulators?

But you can imagine why Google and Microsoft are racing to do this. There's money to be made, and a culture to dominate. You want to be the one who brings about the next big thing.

See, I don't think that A.I. will inevitably decide to launch all the world's nukes at once. But I do think that a race to be first, a race to dominate, and a race to embrace this new world without actually understanding it or even knowing what the tools we've built are useful for, is a genuine threat. In the case of nukes, I can only hope that sanity prevails and we never build an autonomous launch system (hell, I'd love it if we secretly created a system that didn't actually even let them launch in the first place, and that the only thing they can ever do is fool other people with nukes into thinking it would be too dangerous to attack us). But when it comes to less obviously dire, less obviously existential threats to humanity, I think it behooves us to think about what we're actually trying to get out of this.

If our goal is to create a sentient A.I. that can be like a second generation of humanity, to expand the diversity of life and intelligence, to go on a journey with us as we explore what it means to be human, then that's great, and I love it.

If the goal is to automate intellectual labor roles in order to eliminate the need to pay people much in the way that earlier automation has eliminated manual labor roles, all in the interest of further concentrating the benefits of innovation within the capital class that owns the means of production while letting the rest of humanity fall by the wayside, then we need to slam the fucking brakes.

Saturday, April 1, 2023

Dungeons & Dragons: Honor Among Thieves Works Thanks to Fan Service Restraint

 We live in an era of franchises. And before we get started here, Dungeons & Dragons: Honor Among Thieves is, I'm sure, meant to be a franchise-starter. But the pleasant truth is that the movie, which I just saw, actually manages to work by avoiding some of the pitfalls that the worst of the tentpole big-budget Hollywood fare does these days.

Since 2015, I've been a giant Dungeons & Dragons nerd, running games for my friends and occasionally getting to play in them as well. The game is set to celebrate its 50th anniversary next year, and the success of 2014's 5th Edition of the game's rules has seen it become more popular than ever before, so making another go at a movie was probably a logical step. We're in an age where movie studios are willing to commit to big, nerdy franchises - part of that is a positive, in that these once-sidelined styles of storytelling are getting a chance to have the budgets and wide release that they deserve, but another part is negative, in that a lot of studios simply want to capitalize on viewers' affection for an intellectual property and milk it for all it's worth.

And to be clear, I don't think that this movie isn't trying to do that. But whatever cynical motivations might be behind the executive decisions being made, the actual creative artists behind this movie have managed to make a genuinely fun movie with characters I liked and cared about.

For people who are unfamiliar with D&D, the game is not about any one character or story, or even world, but mainly a set of rules to make a game of telling a story with one's friends. Most players build a heroic fantasy character - a swashbuckling rogue, a nature-worshipping druid, a battle-raging barbarian - and can fill in as many biographical details they want to inform the way that they play the character. One player takes on the role of "Dungeon Master," and weaves these characters' stories into an overall narrative, along with, usually, some supernatural threat that must be faced. The rulebooks include ways in which the players can build their characters, as well monsters that the Dungeon Master can send up against them.

And because there's no singular story for D&D, Honor Among Thieves merely tries (and succeeds) to create the sort of plot you could imagine for a fun, quick "campaign," (the term used to refer to the story you tell with a particular group of characters, played over the course of months or years, typically).

While the movie, rightly, introduces us to new characters with their own original backstories and motivations, the setting is a familiar one. The Forgotten Realms is a world that serves as the "default" setting for D&D, filled with cities of intrigue, various supernatural threats, and a deep history. It is this setting, along with the memorable monsters found in D&D's "Monster Manual" (one of the three core rulebooks that the DM uses to find the creatures the player characters will fight against) that make up the pool from which references can be made.

What is refreshing is that the references never (as far as I can remember) call attention to themselves. D&D veterans will instantly recognize Intellect Devourers, Mimics, Owlbears, and Displacer Beasts, but their function in the movie translates to "weird monsters in a world filled with weird monsters." The references primarily function as easter eggs for those in the know to recognize, but when the villainous wizard vanishes in a hazy mist only to appear elsewhere, the layman can simply think "ok, yes, she's a wizard, and that was some kind of magic thing" while the D&D player knows precisely that this is the spell Misty Step, and knows what level of "spell slot" is expended to cast it.

At no point, I think, would someone who has not played the game feel a need to pause and say "hold on, why are we holding on this particular image or moment? Is this something I'm supposed to recognize?" - which is a trope that I see in a lot of franchise filmmaking (including the MCU, which I think has gotten more egregious with these practices in recent years). The only thing you might find here as a sequel hook is simply the existence of the greater villain who is behind the main villain of the movie, but the film seems content to consider the story complete - its post-credits scene (because those are just going to be a thing) is a joke and not a "now wait for the sequel" teaser.

Naturally, there's a difficult balance to strike with high fantasy, especially in an expansive world like this. It would be tempting to try to show everything, and Honor Among Thieves manages to avoid that temptation.

Structurally, the story works, though there are some plot developments that are fairly telegraphed. I generally prefer a telegraphed plot point over a nonsensical plot development, so I can't complain too much about this.

The casting is fantastic - just about everyone is right for their role. Chris Pine is excellent at putting his charisma to use in selling the fantasy with a movie star charm behind it. Michelle Rodriguez is pitch-perfect casting for the badass warrior. The other main members of the quartet, Justice Smith and Sophia Lillis are also good, though I think are not given as meaty arcs as their older party members (Lillis' tiefling druid, Doric, is one of the most visually exciting elements of the movie, bending the rules to let her endlessly shift between various animal forms, but her arc is left on the backburner).

As a character who is designed to steal the spotlight, Regé Jean-Page's paladin Xenk, thankfully, accomplishes his show-stealing purpose with aplomb, coming in as the far-more-powerful adventurer who helps our group of heroes on their quest while acting infuriatingly righteous and honorbound in a way that makes you and the characters want to hate him, but they can't because he ultimately backs it all up.

Hugh Grant dials up his slimy charms to perfect effect as the villainous Forge, which... could technically be considered a spoiler, but, you know, come on.

I'm going to watch the movie again at some point (in part because a friend who has various health issues felt nervous about watching the movie in a theater with many unmasked people) and I'll see whether my feelings toward the movie change.

Basically, the movie accomplishes exactly what I hoped it would, being a fun, often hilarious adventure.

Perhaps the most refreshing moment in the movie, though, and one that avoids a trope that seems so prevalent nowadays, is a moment in which Chris Pine's Edgin begins playing his lute and singing a song to cheer Michelle Rodriguez' Holga up. It would be so easy in so many popular movies to undercut this with some kind of irony and have everyone hate his singing because, you know, playing the lute and singing is lame, right? Well, here, instead, she starts singing along, and the warmth of their friendship and the value of that kind of creative expression as a way of forming a human connection is embraced without any irony.