So I finally decided to take a look at Heroes–after avoiding it for as long as I could (as you may know–I’m the guy who likes to read the “heroism” out of superhero comics).
I’m into the third season (on avi files)–and I’ve made a staggering discovery.
I actually have a bad-plotting threshhold!
And Heroes has disclosed it to me. I actually CANNOT engage this thing at the thematic level. I don’t think it has one. Anyway, I can’t find it.
I never dreamed this could happen to me–I’ve reveled in incoherence my entire life!
Am I reacting this way because I’m deeply immersed in writing a time-travel novel that actually has a comprehensible narrative line? (Which I then hope to sell?)
Have I lost my ability to appreciate storytelling that gives the lie to the myths of cause and effect?
Or is it just that the show’s creators are unprecedentedly incompetent?
Nothing anyone does on this show EVER makes any sense. Nor does it make NON-sense in any way that makes an impact.
My friend Nikki warned me that the show sinks ever deeper into “bad time travel.” I never knew there could be such a thing until I met Heroes. Now the best time-travel I can imagine would be the kind that takes me back to where I was before I decided to watch the pilot episode.
This is very bad time travel indeed. And the secret organization paranoia is even worse. If most genre narratives have “storytelling engines,” this one seems to be powered by “storytelling bombs.” (Except that makes it sound so much cooler than it is–how about “storytelling fucking voids of repetitiveness and pointless reversal”?)
I did like one episode quite a lot–the one during the first season that focuses on Hiro and Charlie (the doomed Texan waitress). That’s pretty much it. And now they’ve taken Veronica Mars and made her into an electrified twit.
Why have I kept going?
Can it be that I long to see the end of the horrible world these people are forever trying to save?
Good afternoon friends!