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#rubber scene
nightmapzz · 2 years
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scribefindegil · 8 months
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Some thoughts on unreliable narrators as I procrastinate on writing several tricky scenes with unreliable narrators:
Every narrator is unreliable. Just like there's no such thing as 'objectivity' in journalism or academia, there's no such thing as a truly reliable narrator. The narrator's viewpoint is limited, they're shaped by their culture and personality and experiences, they overlook things and make assumptions. It's all a matter of degree. But usually we talk about "unreliable narrators" when the gap between what the narrator says and what the reader/author believes to be true is prominent enough to be narratively significant.
Where is the gap?
Unreliable narrators are not all duplicitous. In fact, many are telling the truth as they understand it. But some are not! This is by no way a comprehensive taxonomy of narrators, and even within a single story there are likely to be shifts and overlaps, but here are some Types I find helpful to consider:
Oblivious The reader doesn't get crucial information because the narrator simply was not paying attention. Maybe they were missing context. Maybe they were bored. Maybe they were distracted by a hot girl (Gideon I love you). Alternatively, the reader gets clearly false information (especially about how other characters are thinking or feeling) that the narrator wholeheartedly believes to be true (Breq I love you).
Repressed You the reader can tell that what the narrator's telling you they think/feel and what they actually think/feel are not the same, but the narrator themself has no idea. For narrators that lack self-awareness and don't understand why they do the things they do or for narrators that are really good at not looking at things that make them uncomfortable.
Liar (internal) The "Sure, you keep telling yourself that, buddy" version, where the narrator is on some level aware that they're lying to themself but doubles down on it anyway. Tends to involve a lot of rationalizing or misdirection. It's very common for a character to have a realization about something important partway through a story (that The System is corrupt, that they're in love with their best friend, that their actions are actually more self-serving than altruistic, etc) that makes them switch between Repressed (passive internal conflict) and Liar (active internal conflict). Or, you know, they might have a realization and not immediately start lying to themself about it, but where's the fun in that?
Liar (external) Usually shows up in first-person stories or in-universe writing, since it requires the narrator to be aware that they have an audience and be attempting to intentionally mislead them. In this case, there is a deliberate disconnect between what the narrator's understanding of events and the account of it they're giving for the purpose of spin or deception.
Coerced This is where the gap comes from an external factor, usually magic or sci-fi nonsense that messes with a character's mind and changes their perception of themself and/or reality, (eg they can't talk/think about a certain subject, they've had their memories altered, etc). It's a different flavor than the other sorts of unreliability and can overlap with any of the others depending of how aware the character is of what's been done to them.
How Obvious Is The Gap?
Another thing to consider is at what point, and to what extent, a reader becomes aware that a narrator is unreliable. Is it clear from the beginning? Is it played as a reveal? Is is a slow dawning realization? Is it something that you could overlook on a first readthrough that only becomes obvious once you put the pieces together? All of these can be effective, but it's good to know going in. If you want the narrator's unreliable nature to be a reveal (that is, there's a point where the reader realizes that they're lying and that recontextualizes the whole story), you're going to approach it differently than if you want your readers to be screaming about the dramatic irony from the beginning. If your point is that the reader shouldn't actually know how much of what the narrator's telling them is true, that's going to look very different than a story about a narrator who has an on-page realization about one of the big things they've been lying to themself about and has to navigate the consequences.
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infernothechaosgod · 1 month
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julius doesn't like trouble, and these two bring it everywhere they go
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meownotgood · 10 months
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the rest of the aki concepts
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massfactory · 4 months
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Apparently, I'm into this kind of thing now.
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azznyx · 1 month
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Been busy making bracelets like I’m six
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danjaley · 3 months
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Alasdair: I know that feeling. Up to now I wasn’t even supposed to go to Dundee. My little brother went to a garden-party last month. It was at a great palace, and the park was illuminated and there was a real sea-battle enacted with small ships on the pond.
Robert: Really!?
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Alasdair: I wish I could have been there! But I was sent to live with you instead and I didn’t even throw up. At least this wasn’t the reason I was sent away. I’m glad my Mamá still writes to me, but I wish she wouldn't write what splendid things my brother did.
Robert: Then you should go on the ship! And then you write a long letter to your Mamá and your brother, telling them how exciting it was, and they’ll turn green with envy! (turns slightly green himself) Oh no, would you hand me the washing-bowl quickly?
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frankenkandi · 2 months
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DUCK YEAH! Kandi cuff
for sale now
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the-obnoxious-sibling · 2 months
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in the collective reality where oda actively bothers to do something with alvida and/or galdino in this new post cross guild going for the one piece reality, how plausible do u consider either of them actively caring for buggy or going behind his back to help him in some way? i find the fact oda kept alvida with the narrative extremely fascinating and it frustrates me how she is so underutilised (then again with such a huge cast it is hard to get every character to do a lot, but alvida could have been discarded quite easily post loguetown. yet here she is, a 1000 chapters later, sitting on the cross guild couch drinking wine)
i do wonder sometimes what oda is thinking when he keeps characters like cabaji, mohji, and alvida around a thousand chapters since they last really did anything. does he like drawing them? does he want to throw a bone to the handful of east blue stans out there who miss when op pirate crews had a simple gimmick they stuck to? is he trying to show that buggy lifts his crew up with him, or refuses to leave anyone behind? i just don't know.
modern day alvida has a lot in common with galdino. she's calculating, analytical, and sides with the person who will give her the greatest advantage. that's been buggy for a long time because he's had the appearance of power for a long time. even now, the appearance of power is still there. does she actually care for buggy? does galdino? i'm not sure.
but for the purposes of answering this question, let's assume that she does, that they both do. i think their pragmatism still outweighs any fond feeling, unless:
it's to their significant advantage to help buggy, and/or
they won't get caught
safety above all else, you know? and getting on either mihawk or crocodile's bad side is not particularly safe behavior.
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nightmapzz · 2 years
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creepiefarm · 1 year
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[ID in alt text]
i kandi laced my sneakers with the last lines of "The Two Headed-Calf" by Laura Gilpin 🖤🐮🖤
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antirepurp · 2 months
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god i love that all we see of maria are flashbacks from shadow after he's had his head fucked up by gerald or whatever the fuck. i love that every time we see her it's through the lens of someone else who doesn't quite remember her right or twists the perception of her to further their own purposes it's so fucking good and leaves so much room for character exploration
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beingharsh · 5 months
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normal guy
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massfactory · 4 months
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ashen-crest · 4 months
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no one tell Ambrose, but I've put him in a situation I don't know how to get him out of
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gawaero · 10 months
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