Science fiction featuring military training, detailed battle tactics and space warfare often skips developing characters, particularly female ones. Moreover, the logic of why a young child might be placed in the position of saving the world is well worked out. The book has its fair share of clever military ruses but it is the way highly talented children are taught and react that makes the book far more than the likes of a Gordon R Dickson novel.
It also has a very sparse writing style as, rather than going for elaborate descriptions, Scott Card leaves it to the reader to imagine the details triggered by the fast-moving action. Without giving it away, it does a great job of acknowledging the tragedy of the past while showing hope for the future, setting up what eventually becomes another book.
At times, the book did tend to be too military-oriented for me, getting bogged down in tactics and battle formations. They were necessary in "Ender's Game," which draws heavily on military operations, but occasionally they got too detailed and slowed the plot. There was also a subplot involving Ender's older siblings, Peter and Valentine, who remained at home with their parents and eventually get involved in politics through the Internet.
What they do is interesting and opens up the political aspect of the war Ender is preparing for, but it shifts the story away from the main storyline and slows it down without adding too much back into the story. There are five characteristics of science fiction that are found in The Host novel and Ender's Game novel.
The five characteristics are aliens, technology, spaceship, space opera, apocalyptic and ecology aspect. There are similarities and differences manifestation in each science fiction characteristics. The manifestation of science fiction characteristics in these two novels are found through characters, plot and setting. The writer suggests the next researchers to digs up more about apocalyptic concept in these two novels by using structuralism approach.
You have to find ways to externalize what he's thinking. But he can't be the kind of person who explains himself to other people. That would weaken him.
With all my scripts, if you had read Ender's Game you would say, wow, he nailed it. But if you hadn't read the book, then you would have no idea what all the fuss was about. I finally wrote a script that worked for people who had never read the book, and it was a buddy-movie approach—bringing the character of Bean, Ender's friend and sidekick, to the front and making him a foil, somebody Ender can talk to as an equal.
That was proof of concept. Screenwriter-director Gavin Hood, however, went with Petra a female classmate who becomes one of Ender's lieutenants as a major character. Those were his decisions to make. Why were you so adamant that Ender be played by an actual child, rather than a teenager? If he's older, puberty has hit, so it would be tempting to try to give him a love interest. But that is not the version that is being used, for which I'm deeply grateful.
Maybe the people at Lionsgate have understood that turning this into a teen romance movie would really kill the story. Well, the stuff these kids were required to do—they're flying on wires—in order to keep the budget within line, they had to work with older kids.
So though there are things that I wish had gone a different way in the abstract, given the realities of Hollywood, I couldn't be happier. It was a wild combination of wire work and computer graphics. It follows the rules of physics, though there was a little bit of a problem early on: The computer graphics people did not understand that in zero g, when two things collide there's no such thing as a glancing blow.
At least one of the objects will go into a spin. That's all been fixed. There were two. One, it's a lot of people moving around on the screen. It's the Quidditch problem: The games were great on paper, terrible when you're watching them.
Two, there's a problem in computer graphics that people are well aware of, which is that walking never looks real.
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