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withoutrunes · 3 months

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Sir Pentious' Death

So there's something glorious about Sir Pentious' death being INglorious.

It proves that redemption isn't about success.

What makes Sir Pentious worthy of Heaven isn't that he hurt Adam with his final attack. That'd be one thing, but this is Heaven, not Valhalla; great and epic feats of warfare are not what earns one a ticket to the Pearly Gates.

It is the courage and willingness to die to save others- i.e. not the act itself, but the decision to perform the act- that is the mark of glory, that evinces the greatness that makes redemption possible.

And we've even seen him develop this courage in a smaller subplot: look how he started out with talking to Cherri in the last episode!

But eventually he got the gumption to tell Cherri how he felt, in the most dramatic way possible.

Sir Pentious changed, and THAT change is what propelled him to make the decision to risk his life- a risk that became entirely real- to save his friends.

Letting Adam wipe out Sir Pentious, beyond being a good way to really establish just how damn STRONG Adam really was, shows that his redemption wasn't about Sir Pentious' success.

It was about Sir Pentious' heart, who he was inside.

And it was enough to earn him not just Heaven, but to appear there before the Seraphim themselves.

And you can see the heart on his design, on his bowtie!

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blueteller · 1 year

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So, Let's Talk Themes in TCF!

"Themes" is such a weird topic for me, not gonna lie... I always feel like it's something you're just supposed to know and feel instinctually – like rhythm in dancing. Which, btw, I'm not really good at. So it's difficult to talk about without that background anxiety that I'll totally flop and miss the point, despite my best intentions.

Still, I decided to give it my best shot anyway, and try to decide what "themes" there are in "Trash/Lout of the Count's Family", and why I like them, because that part is subjective and thankfully, I can decide without freaking out over the "correct" answer.

First, let me make one thing clear: I don't believe TCF was written to convey a single theme or idea. It's an adventure story, and it's supposed to be pure fun. Which it is!! But nevertheless, there is a lot of effort and thought behind it, and I believe that thoughtfulness from the author manifests itself clearly in the overall work, so it's definitely worth talking about.

Now, with that lengthy explanation of what I'm going for out of the way: what are the themes in TCF that I noticed (and like)?

Found Family

Beloved Hypocritical Hero

Overcoming Prejudice

Victory in Working Together

What makes Humanity, what makes a Monster

Healing and Moving Forward

Misunderstandings

Found Family is the most obvious theme, overall, so I don't think it requires much explanation. Cale doesn't "find" his new family on purpose as much and trips all over them, on total accident – then proceeds to adopt them all, despite his inner monologue telling the readers over and over that he intends no such thing. It's pure comedy, but it's also incredibly wholesome and heartwarming. Cale has the biggest, softest heart of them all, and he's the only one who doesn't see it. I wanna squish his cheeks and coo over how cute he is most of the time.

Beloved Hypocritical Hero is the second theme, which isn't apparent at the start. Cale's biased inner monologue does his best to convince us that he's totally selfish, and doesn't intend to be a paragon protagonists who selflessly helps others in the slightest! ...However, over the course of the story it becomes clear that Cale is one, big, fat, liar. He is exactly the sort of hero he constantly denies he is. His whole spitting-blood-from-power-overuse act practically became a meme at this point. Still, despite how frustrating Cale's blatant hypocrisy is, we can't help but love him all the more for it. I'd like to say that he gets better overtime, but.... yeah, personally, I don't see much progress on that front. He did promise Raon he won't get hurt one time, and he managed to keep that promise, but then he (spoiler alert) went ahead and stabbed himself right after, so. Yeah. Cale is a hero and a hypocrite and we all love him. That's definitely a major theme in the story.

Overcoming Prejudice is the best way I found to describe the whole plot of "anti-darkness attribute" propaganda in TCF. What I love about it is that the author found a much more interesting way to convey the theme than just make it about "fantasy racism". It isn't just about the Dark Elves, it's about Necromancers too, and all people using dead mana. The best part is that dead mana is, in fact, used by the very higher-ups who spread the prejudice in the first place, proving without a doubt that it's all 100% hypocrisy and there is nothing wrong with dead mana in the first place. It's all propaganda, and it serves a purpose. The true beauty of this plot unfolds when the Sun Twins show up, and Cale brings in Mary to help Hannah with her dead mana poisoning. Jack goes through an entire arc of realizing what "true light" is, and that despite the "voice of the Sun God" constantly ringing in his ears to eradicate all darkness, he comes to his own conclusion that it isn't what the power is, it's about what ones does with the power. It's just, beautiful. I feel like that part of the story doesn't get enough credit. Mary is one of my favorite characters, and Jack and Hannah combo is amazing as well. Definitely one of my favorite plotlines in TCF.

Victory in Working Together is another obvious theme throughout the story. It isn't just reserved for the good guys, either: the bad guys have a ton of alliances, too. The difference is that the good side is based on genuine intent, without stabbing each other in the backs, while the bad guys only pretend as long as they need to, then throw away their "allies" to the wolves when it's convenient. It's portrayed less as a "message" and more of a purely pragmatic fact: to get anywhere, you need to have support. Cale knows this from the start, which is why he manages to make so many allies in such a short time. This theme is simply about being able to overcome the biggest of obstacles, as long as you honestly work together with others and put all your effort into it. It is the simplicity of it makes it so effective, in my opinion.

What makes Humanity, what makes a Monster is an interesting one for sure. In a world full of so many interesting races, the final boss is – always – human. Be it Venion Stan, Redika, Prince Adin, Queen Elisneh, the White Star, or even the Sealed God – all of the main villains are either purely human or started off that way. I think it's very much deliberate, in order to show how what makes these people evil isn't some in-born characteristic; but only their choices. Not to say that non-human characters aren't ever bad, of course not – there is a bunch of evil non-human characters all over the story. But evil, true evil, is always a choice. And thus, non-human characters who choose good are more "human" than the "monsters wearing human skins". I won't call it an allegory, because it isn't even as indirect as that: it's a fundamental truth of life that the only real monsters are people who are rotten on the inside. And since the author put so much effort to make all the fantasy races in TCF feel very much human-like, it only makes sense that their choices is the thing that makes them evil, not their race. Even actual Monsters aren't all pure evil in TCF! I truly appreciate it. It's such a simple concept, but it works extremely well.

Healing and Moving Forward is one of the themes which honestly melts my heart. It doesn't simply apply to Cale; it applies to everyone in the cast. Everyone in Cale's group comes in damaged, scarred, hurt or threatened in some way, and comes out better in the end. From the children, to the adults, the entire group heals through their "Found Family" and their quest to defeat the evil forces threatening their world, in order to achieve a peaceful, happy future. Every time we see the evidence of it – like Cale admitting his life is precious, Eruhaben agreeing to extend his life, Choi Han attribute changing, and so on – it feels like an amazing triumph, and yet completely natural and earned. One could simply call it "good character development" and move on, but I see a commond trend and it deserves to make itself a theme of its own. It's not just about everybody finding their place in the family: it's about them growing as family. And doing so, despite their traumatic pasts. And since I once called Cale a "poster child of trauma", it's no wonder he's the one who has the most of "healing" and "moving forward" to do of them all. I hope it continues all throughout book 2!

And of course, I saved Misunderstandings for last. I think the name speaks for itself. TCF is practically a comedy built upon misunderstandings; except misunderstandings of the BEST kind. The misunderstandings where people look upon Cale – tired, in-denial, clueless Cale – and see whatever they need to see the most in the moment: a saviour, an inspiration, a leader, a friend, a parent, and so on. Many misunderstandings result in people seeing Cale in too-good-to-be-true light, which is always funny (Clopeh instantly comes to mind). The thing is: Cale deserves most of it, even if he doesn't believe so. Because it's not about what Cale actually is that matters in those situations: it's about what others need. Cale inspires just by being, well, himself. And that inspiration is what changes people. It's Cale doing his best and affecting others, that makes all the huge waves of change. In my opinion, there is no better misunderstanding than one which results in inspiration: because even if "truth" was revealed later on, the effects of it were 100% real, and something to be grateful for. Imagine if you had a terrible day, and you suddenly saw someone smile at you, and you felt better. Even if the person wasn't actually looking at you in that moment – that doesn't matter!! What matters to you is that your day DID get better, and that person was to thank for! That's the beauty of TCF's misunderstandings. Cale will never truly comprehend the gratefulness of others, without understanding how he can affect them without even trying. ...Then again, his obliviousness and hypocrisy is one of the many reasons why we love him 😊

Let me know if there are other themes in TCF you like!

#tcf #trash of the count's family #lcf #lout of the count’s family #tcf meta #themes #story themes #analysis #character analysis #misunderstandings #cale henituse #tcf mary #the sun twins #tcf jack #tcf hannah

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starshinedragon · 8 months

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SSO Analysation – The Vala’s Morality

Black and White Morality as a Story Theme is the idea of Good and Evil. There being a side of Good and Light and the right decisions and the side of Evil and Dark and wrong decisions. It is most commonly incorporated into the overarching conflict of your story world (like the conflict of the jedi and sith). -> Represented as the side of Aideen and the side of Garnok.

Greyishness comes in later, focusing on characters in the most popular Tolkien-ish interpretation. Meaning there is a little good in the worst of us and a little bad in the best of us, BUT there is no good is Evil and no evil in Good. People have the choice to fall and the choice to rise again. -> Represented in the characters of Justin, Mr Sands, Pi, Ydris, Anne.

Orange and Blue Morality means the opposing sides are not good and bad. They are most commonly Order and Chaos as we can see in the case of the Vala and Sive. -> Their goal is Chaos. They are not with the Light side and not with the Dark side, they are witches from Earth, but using the magic and energies of Pandoria. They are sitting right in the middle of the compass. -> This point is wonderfully paradoxical, since they are pursuing Chaos by preserving Balance. In their eyes the light and dark sides are of Order, since in the case of the victory of either, we are painting the whole island white or black. No more Grey. If we sever the connection between Earth and Pandoria, the Vala will no longer have access to their magic. Their power comes from Chaos which is the midway point between good and bad and reality and unreality. -> This is why they help both our and our enemies’ side. Their priority is that the conflict over Jorvik goes on for as long as possible. They want Light and Dark and the reality of Earth and unreality of Pandoria to clash and create power for them. The Vala are preserving Balance to create Chaos.

And this is a really clever take on incorporating Black and White and Orange and Blue Moralities into the same story, using your established magic system. A+

#sso #star stable #ssoblr #sso magic #star stable online #creative writing #story themes

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theeccentricraven · 2 months

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WIP themes tag!

Thank you @kaylinalexanderbooks for the tag😊

Rules: bold themes from one of your WIPs and italicize lighter themes.

I see that self-esteem or self-confidence aren't on the list, but at least empowerment means just that.

From The Blood Cleaners

Tagging @dandelion-jester @tryingtowritestuff24 @acmartin @toribookworm22 @sleepywriter00 and anyone else who wants to join! (sorry if I accidentally tagged someone already tagged)

#writing #writers #writeblr #writers on tumblr #creative writing #write #tag game #open tag #tumblr themes #fiction writing #storytelling #story writing #novel writing #story themes #wip #current wip #novel wip

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mx-ryder · 3 months

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Some thoughts on Hazbin Hotel

I literally just watched HH this week, followed by binging Helluva Boss on YouTube right after. And my Dash is full of HH and HB stuff now. And the other day I saw someone posted their thoughts on the show, including one specific take that it falls right back under the typical "Sinners are bad but hey, we can fix them!" sort of trope. (I really don't know if I'll be able to find the post again, if I do, I'll reblog/link it here or something).

And hey, I'm not gonna argue that it doesn't, per se. I just think there's a bit more to it than that.

c.w for general religious trauma talk, SA mentions, drug use/abuse, alcohol use, addiction, gambling, probably other things I'm not thinking of

(Also please don't feel like you have to read this. It's literally just me rambling because I haven't been able to stop thinking about this topic all fucking day, so I wrote it down to get it out of my head. Obviously if you read it and want to comment/continue the discussion, feel free. Just please. Be respectful.)

Now.

All my thoughts on HH are very much colored by my past experiences with religion, US christianity, specifically. More specifically still, the sort of christianity that makes people believe that "home schooling" their kids, isolating and indoctrinating them away from anyone who might make them question it all, is the best course of action. I grew up bouncing from church to church, from home schooling co-op to co-op, all so my bio-mom could find the exact group to echo her own sentiments back at her.

Among the things I grew up believing were great ideas such as:

Sexuality is inherently disgusting, and something you should always be forcing down/avoiding/punishing yourself about. Masturbation, porn, sex before marriage, dressing "immodestly", and any sexuality outside of heterosexual were inherently evil and worthy of punishment. Sometimes that punishment was being assaulted, because really, she should've covered up, right? Girls, sometimes girls as young as 12-13 (if not younger) were villainized for wearing tank-tops and shorts, because they were causing the boys to stumble and immodesty was a moral failing on their part.

Drugs, alcohol, substances in general, are bad and wrong and using them, or heaven forbid becoming addicted, is a moral failing on your part. You are a bad person for consuming a drug, and therefore deserve to fall into addiction, houselessness, starvation, and/or abuse.

Poor people deserve it. Accepting help of any kind is leeching off good, hard-working people. Your worth as a person is directly tied to your ability to be a "productive member of society."

Any mental health issues are your fault, and are either because you don't believe in jesus hard enough, or because you're inherently broken and sinful and therefore unsaveable. There is no room for sympathy or empathy for anyone struggling.

There's a reason these are the same stereotypical archetypes you see in this sort of show. The queer sex-addict. The gambler. The "weirdo" who isn't like other people and enjoys "weird" things, or enjoys things "too much". Even just the party-girl character. Because these aren't just stereotypes. These are actual entire groups of people who are ostracized and vilified just for being who they were born to be, for making choices christians don't like, or for being sick.

And that brings me to Angel Dust. Who, by the way, I wish I could've been given a content warning about, because holy shit Ep 4 and Addict hit me really fucking hard. My friend recommended the show to me without having watched it, so I went in not expecting that sort of storyline to punch me in the gut out of nowhere.

Anyway! Angel Dust! Literally named after a drug. A gay porn star who flirts shamelessly with anyone and everyone, who proudly shows off his best films to his friends, who secretly hates his job, not because of the sex, as we come to find out, but because he's under the thumb of a fucking psycho who treats him like shit and actively physically, sexually, and mentally/emotionally abuses him. He's basically been trafficked, and hates that he doesn't have any say in what happens to him in front of the camera. It's a horrifying position to be in, and one that left me a little shaken up, tbf.

The take I'm mostly writing this based on is that Hazbin Hotel falls into the trite tropes of "rich white girl attempts to fix people who are below her" and specifically mentioned disappointment in how Charlie didn't try to argue that Angel Dust didn't deserve hell based only on his addiction or sexual past, but that she instead claimed that she could "fix him."

And I just . . . think that's a little bit of a black/white take.

For the first part, what would people rather she do? Put all her time, effort, influence, and power into trying her damnedest to help her people, who are being slaughtered by the thousands every year just because Adam is bored? Or sit at home and use all that time, effort, influence, and power to make rubber duckies like her father? She could just ignore everything going on, call it hopeless, give up, and ignore the suffering of her people. Would that be better? Would that satisfy this weird little "she's just a rich white girl with privilege" gripe?

Charlie is a rich girl. A princess. Someone with huge amounts of privilege, power, influence, etc. But you know what? She's also stuck in hell. She was born there, through no fault or choice of her own, and because of who her parents are, she is trapped in literal hell, with no hope of ever, ever ascending to heaven. She does not get a chance at redemption, because she was born to the wrong people. She is a young woman who was born into horrifying circumstances, living in a world that she frequently expresses disgust for (her frequent discomfort with sexuality, her disgust toward the cannibals, her dislike of violence, even necessary self-defense).

And she still loves her people and wants to see the best in them.

She would be completely justified in hating everything about hell, her life, the people around her, her parents, heaven, everything, really. She has every right to hate her entire existence, but she puts all that hatred for the system into her efforts to fucking do something about it. Why is that a bad thing, just because she was born into a position of power and authority??

And now on to Angel Dust.

Charlie never once makes a judgement call about Angel or his habits, his work, or his personality. She expresses discomfort with the sexual nature of his work (tbh wouldn't be surprised if she's a sex-repulsed ace), but she does not think he's a bad person because of his work. Nor does she think that he needs to stop doing his work in order to become a better/good person. When she tries to get him some time off, she's explicitly doing it because she wants him to have time to decompress and participate in activities at the hotel, not because she wants him doing less of his specific kind of work.

She never condemns his partying, either. She has a bar in her hotel! She defends him partying, right to heaven's face, because she knows everyone present has partied, everyone has enjoyed a drink with friends. There is no condemnation of his partying activities, and I don't think she ever makes it seem as though Angel needs fixing.

What I got out of that episode, watching Charlie passionately defending her friend in front of the worst fucking person in the universe, was that people do not need to be fixed, but some love and support can help them make better choices for themselves. Angel still has a good time. He still has his job (contract, y'know, but would probably be in the industry regardless). The only thing different about that particular night of partying is that he's out with people who care about him, and who he cares about.

Even Cherri, though she expresses some joking disappointment that he's spending so much time worrying about Nifty, doesn't actually seem that put out by it. She teases him a little, but leaves him to do his thing. And his thing is making sure his friend, who is less experienced at partying (and who is significantly smaller/more vulnerable than most other people), is safe and okay. His thing is defending his friends from an extremely dangerous person, at massive risk to his own personal safety.

And he didn't do any of this because he'd been "fixed" or because he'd "changed." He did it because, for possibly the first time ever, he has people around him who love and care for him, and who want the best for him. And who he loves and wants the best for in return. He said himself that he stays out of his mind on substances, allows himself to be drugged and assaulted, puts on this persona of care-free-crack-whore-who-only-thinks-about-sex, because he is trying everything in his power to dull the pain he's in. Because he doesn't believe he deserves any better.

And this, this is what Charlie is trying to show Heaven. She is trying to show them that there is nothing morally damning about alcohol consumption, or even drug use, sex work, or anything that makes Angel who he is. She's trying to show them that, with some love, care, and support, with a safe place to call home, with their base physical and emotional needs being met, people don't need to resort to the sort of destructive behavior heaven/Adam is condemning! People can choose to engage in these behaviors safely, consciously, and with people around them who want them to be safe and have a good time.

Then we get on to the idea that this entire episode ends on. Heaven doesn't know how people get there. They don't know what it takes to be "good enough" for heaven. Sera herself admits that Adam was just "the first soul in heaven," all but admitting that he's just there because he defaulted into it. (Though that does make me wonder, what about Abel? He would have died long before Adam, and considering how long Adam lived, and that there were plenty of other people around by the time he would have died, where were all those souls going??).

And Adam is the fucking worst! He is literally the worst, most selfish, violent, vulgar soul in the entire show, but he is allowed in heaven, for reasons no one even understands.

You know what the difference is between Adam and Angel?

Adam can't be fixed.

His behaviors are all destructive, not to himself, but to others. He insults, abuses, hurts, and kills with abandon. He made this weird, shitty deal with Hell and Lucifer because he wanted to murder innocent souls, because he was bored, and the rest of heaven doesn't even know about it. He has free reign to be an absolute piece of shit to everyone around him, damaging people left and right, and he will never face any sort of justice for it, because hey, he's already in heaven!

But Angel? Angel's behavior is all self-destructive. Again. He gets fucked up to dull his immense pain. He allows himself to be drugged and assaulted because he believes he deserves it. Because he's been told, for who knows how many thousands of years, that he's a whore anyway, so why shouldn't he be free to use for anyone who wants to take him? He has been beaten down, physically, emotionally, sexually, until he's a shell of a person who is struggling to find any reason to continue his shitty existence.

And he hurts only himself.

I mean, okay, he does piss off Husk sometimes, crosses boundaries/etc. But he and Husk pretty clearly fix that between themselves. There's no lasting damage there, and idk if anyone else noticed, but he stops that behavior pretty much entirely after that ep.

Angel is hurting. He is hollow, and hopeless, and trapped. And he does not need to be fixed, nor does Charlie ever attempt to do so.

All she does is reach out a hand, and say, "Hey, I see that you're struggling. This place is fucked up, isn't it? Maybe I can help."

Charlie is a flawed person. She takes her privilege for granted. She feels the immense weight of her choices, and the pressure of having taken responsibility for a people who may never want her help. She messes up, because somehow, she's endlessly cheerful and optimistic, despite her upbringing and the world she grew up in.

Charlie is flawed. But she's trying her fucking best. She isn't trying to fix. She's trying to help.

We all need some help, every now and then, don't we?

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psychoblush · 1 month

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Andor - S1E1 "Kassa" - Structural Analysis

This is a written analysis of the plotting and structure of Andor from a screen/TV writing perspective. I'm an aspiring screenwriter studying TV, film, and theater writing in college and this is my pet-project: to examine the way Andor constructs story in order to achieve certain dramaturgical effects. I hope to do similar analyses for the rest of the season as well. Thank you for reading!

This will contain spoilers for all of episode 1, spoilers for the first arc (E1-E3) and mild spoilers for the rest of the season.

Show premise

Petty-thief Cassian Andor is hunted by the Empire while a revolutionary movement coalesces across the galaxy.

Ferrix Arc (S1E1-S1E3)

Stories (Arc-wide)

A-story: When a pursuit for information regarding the whereabouts of his long-lost sister leads to him being a wanted man, petty-thief Cassian Andor is forced to do anything he can to remove himself from the attentions of corporate security, but the ensuing confrontation leads to death and destruction within his community.

B-story: (in flashback) When a mysterious starship de-orbits over Kenari, young Kassa embarks on a quest to prove himself as a capable member of his community, but the confrontation results in the destruction of his community and his abduction by off-world scavengers, never to see his family or his sister again.

C-story: Deputy inspector Syril Karn seeks to prove himself as a capable officer and a force for justice by apprehending the killer, but does so by disregarding his orders and endangering the lives of his comrades.

D-story: When Timm gets jealous of Cassian’s reentry into Bix’s life, the relationship is strained by mutual secrecy and miscommunication, leading to Timm’s death at the hands of a corporate cop.

S1E1 - “Kassa”

dir. Toby Haynes, wri. Tony Gilroy

streamed September 21st, 2022

Stories

A-story: Petty-thief Cassian Andor seeks to lay low and cover his tracks after a fatal shake-down with two corrupt cops leaves him a wanted man, but finds that his community distrusts him after overdrawing one too many favors.

This A-story is very central to the entire episode and with the exception of the B-story, all other stories causally spring from this story and end up relating to it in some way by the end of the arc.

B-story: In flashbacks, young Kassa wants to prove his worth by embarking on a scouting mission with the other “adults”, but abandons his sister in doing so.

The B-story serves both in the arc and the episode as a way to provide an elegate symmetrical structure. There’s a scene in the beginning of the primary action of Cassian’s pursuit after the opening sequence, one in the middle, and one in the very end. At the same time, the flashback serves to articulate some of the internal dysfunctions of the character, even though it takes a few episodes for it to fully manifest.

C-story: Security deputy Syril Karn wants to solve the murder of the two cops to fulfill his vision of justice, but finds that nobody in his organization, especially his boss, wants to help with his pursuit of the killer.

Here, Tony starts to flex his muscles in devising institutional drama and plotting. The main antagonistic force in the story does not operate unimpeded; he instead is faced with his own antagonism that articulates two key themes: 1) the empire stifles the freedom of those that serve it, and 2) fascist societies generate fanaticism regardless of whether or not it advances their cause or helps to maintain the preferred status quo.

D-story: Cassian’s reentry into Bix’s life prompts friction and secrecy between Bix and her romantic/business partner, Timm.

This almost functions as an addendum to the A-story, but gets its own special attention in how it chooses to articulate the Bix/Timm relationship. But it comes to have a direct causal effect on the A-story in subsequent episodes. Infact, the way causality transcends the stories becomes extremely intricate in its own right. Dramatic action becomes an emergent property of these interactions.

Scene sequences

OPENING/CLOSING IMAGES

OPENING IMAGE: Streetlights moving rapidly in the rain; Cassian in pursuit of his sister.

CLOSING IMAGE: After Kassa leaves his sister for the last time, she watches him as he runs away.

1: I./E. BROTHEL, MORLANA ONE - NIGHT (A-STORY)

Cassian enters an upscale brothel in search of his sister. When he receives special attention from the hostess, two on-duty corporate cops start antagonizing him. Cassian gets too pushy in getting information from the hostess, prompting him to get kicked out of the club and his pursuit thwarted.

2: EXT. MORLANA ONE - NIGHT (A-STORY)

Cassian tries to exit discreetly, but is held at gunpoint and shaken down by the two offended corporate cops. They attempt to rob him, but Cassian is able to outwit them, inadvertently killing one of them in the scuffle, and recovering the gun. With the tables now turned, the remaining cop tries to persuade Cassian to spare him, but Cassian kills him to make his escape.

Let’s talk about these two scenes as a sequence, because they function as one discrete unit of storytelling. Andor doesn’t do cold opens - though this sequence could very easily serve as a riveting cold open if they moved the title card to right after this scene. Being a streaming exclusive without commercial breaks, Andor also doesn’t use hard act structure with distinct act outs, even though we’ll come to see Andor as employing techniques similar to traditional TV act structure at times.

In TV writing, we sometimes encounter this idea of cold opens or opening sequences serving as story microcosms. In the sense that the structure and action of the sequence is representative, in a small way, of the way the world we see in the episode, season, and series functions. Andor’s opening sequence has him engage in a seemingly innocuous pursuit, enter a highly dangerous yet extremely familiar situation of power-tripping LEO, and leads him to make a difficult choice to escape the dangerous situation. It’s telling us that this is a world where good people have to make hard choices to survive because of the danger of the society they live in, which we will come to see in subsequent story units, is a racist, fascist, imperialistic, and capitalist society.

3: I./E. FERRIX / MAARVA’S SHIP - MORNING (A-STORY)

An extremely quick scene introducing us to Ferrix before work-hours, B2’s winning personality, and establishes the pretenses for Cassian’s flashbacks in the B-story.

This isn’t really a real scene because it doesn’t have conflict, it doesn’t have antagonism, and it doesn’t have pursuit. But it serves as a good framing device and orients us to where we are on Ferrix.

4: EXT. KENARI VILLAGE - DAY (B-STORY)

This scene introduces us to Kenari, Cassian’s sister, and Kassa (the young uncontacted version of Cassian). We don’t get much action or context in this scene, but discerning viewers are able to pick up on the fact that this is a society populated solely by children and teenagers wearing and using old industrial equipment. Something very bad clearly happened here. We also see the mysterious ship de-orbiting, and the reaction the community has tells us this isn’t something they’re used to.

The decision to completely eschew subtitles is a pretty fascinating directorial choice and one that has gotten a lot of attention online. But It does a lot to ground the movement solely on the acting and visual language, as opposed to dialogue construction - though arguably it makes the plotting of this story a bit more sparse.

5: INT. MAARVA’S SHIP - DAY (A-STORY)

We get a short scene with Cassian where he starts to formulate a plan. We also get some indication that Cassian has a community on this planet with Bee mentioning Maarva and Brasso. In some ways, Maarva’s the antagonist in this scene because she’s besmirching Cassian to the others, even though she’s not there and it’s coming from Bee.

“Spectral” antagonist: A representation of the antagonistic force in the story by a character who isn’t that main antagonistic force. Bee’s just passing on information from someone else, but in doing so, he’s softly acting as the antagonist for the moment. We see this technique employed a lot in this episode and this show, especially since shows operating in the prestige mode often go entire episodes without main oppositional characters meeting (i.e. Cass and Dedra still haven’t met).

6: EXT. RIX ROAD - DAY (A-STORY)

Cassian convinces Brasso to spin a lie for him, but in doing so, it becomes apparent that Cassian’s sleaziness has overstayed its welcome in the community.

This is when the main sense of antagonism in the episode starts to crystalize for Cassian. Maybe once, his petty crime and hustler antics were overlooked in the community, but those days are coming to an end as Cassian’s options dwindle. That’s the source of danger, more than the possibility that he’ll be caught for the time being.

7: INT. PRE-MOR SECURITY CHIEF’S OFFICE - DAY (C-STORY)

Syril delivers the report of the double-homicide to Chief Hyne - keen on making a good impression and presenting himself as a dutiful officer, but Hyne sees through the bullshit and orders him not to investigate the murder in an effort to sanitize Pre-Mor’s crime reports under Imperial jurisdiction, leading Syril to be incredulous.

This is a great scene. It works wonderfully schematically, the scripting is stellar, and the acting is spot-on. This is the scene where I was truly convinced of what Andor’s storytelling was capable of. Syril comes in with a pursuit (deliver a report) with a deeper motivation (pursuit of justice) which is fueled by dysfunction (he is deeply insecure about his position as an officer and is desperate to please). The pursuit is met with opposition (Hyne has a completely different perspective on justice, being a pragmatist and someone who doesn’t want to rock the ship) and reversal (Hyne orders him to drop the matter and implies he wants to fire him), which leads us with a clear emotional context from Syril (anger and disbelief) which propels him into action (go behind Hyne’s back) for the rest of the story arc. It’s Emmy-worthy writing in a single scene. And it all happens in 3 minutes.

8: I./E. TIMM AND BIX’S SALVAGE SHOP - DAY (A-STORY) / (D-STORY)

Cassian comes in to convince Bix to contact his black-market dealer so he can sell his Starpath unit for a premium, but it generates friction between him and Bix because Bix assumes he’s been undercutting him. When Bix offers to buy it off him, Cassian refuses and convinces her to make the call. Timm expresses resentment for Cassian’s past with Bix - when Cass tries to dissuade his concerns, Timm gets more jealous of the two of them.

This scene’s also a banger. It has a complex shape - the danger is threefold: Cass doesn’t want Bix to know what trouble he’s in, he’s externally threatened by the sense of fear he has over being caught, and neither Bix nor Cass want Timm to discover the extent of their black market side-hustle. Bix is an antagonist to Cass, Timm is an unknowing antagonist to both Cass and Bix, and Timm thinks Cass is his antagonist. It’s great, and from here the causality gets pretty wild.

9. EXT. KENARI VILLAGE - DAY (B-STORY)

Kassa tries to go on the war march by joining in on the face-painting, even though he knows it means abandoning his sister. An older boy tries to stop him from participating, but the older female leader lets him join, prompting him to paint his face the same way she did.

This is a good scene with sparse plotting befitting the style of this story. The antagonistic force is the sense that Kassa should stay with the community and be with his sister, while the pursuit is that Kassa thinks he’s of more service if he leaves with the war party. The two antagonists are his sister and the older boy. Kassa gets what he wants in this scene, like he does in all the scenes this episode. This is because this story functions on an inverted sense of danger: the closer Kassa gets to what he wants, the more dangerous things will be for him. So the stakes are actually higher if his actions aren’t opposed very firmly. His dysfunction drives the story forward, with opposition deferred until it gets extremely bad in the third episode.

10. INT. PRE-MOR CORRIDOR / AIR TRAFFIC OFFICE - DAY (C-STORY)

Two security workers laugh and greet Syril in the hallway - Syril’s awkward response causes him to feel isolated. Syril corners the air traffic controller into reviewing the logs for him, but when the controller expresses apathy over the matter, Syril threatens him into compliance by invoking his authority.

GREAT LITTLE SCENE. It illustrates dysfunction: Syril is lonely, all he has is his job and a black-and-white view of morality and justice. It shows him acting transgressive to get what he wants, specifically by abusing his power over others. And it articulates the antagonism the same as the previous scene with him: what he perceives as laziness and apathy is what keeps him from getting what he wants.

11: EXT. FERRIX BACKALLEY - DAY (A-STORY)

Cassian is cornered and hustled by Nurchi, a local to whom he’s greatly indebted. Nurchi attempts to intimidate him with the help of Vetch, but Cassian is able call Nurchi’s bluff and escape from the situation.

It’s a good scene, really short and sparse. Thing to track here is that the town is becoming increasingly hostile to him and he’s generally unliked by folks.

12: I./E. TIMM AND BIX’S SALVAGE SHOP / FERRIX STREETS - DAY (D-STORY)

Bix is cagey about where she’s headed when Timm asks. Bix leaves, Timm attempts following her but quickly loses her trail when it’s clear Bix knows the streets better than he does.

13: I./E. PAAK WORKSHOP / RADIO TOWER - DAY (A-STORY)

Bix goes to Salman and Wilmon Paak’s workshop, asking to use the radio. Bix radios the buyer to come to Ferrix.

I put this as A-story because this scene has more to do than the previous one with Cass’ situation than the friction emerging between Timm and Bix.

What’s important about this scene is that it clues us into a larger underground network on Ferrix - Salman, Bix, Cass. It's a community where folks otherwise look the other way at this kind of stuff. Otherwise it’s sparse, no conflict, no antagonism.

14. INT. PRE-MOR SECURITY HQ - DAY (C-STORY)

Syril recruits the main security IT staff to help him apprehend the killer, but the staff express a general unwillingness to help him - both because they don’t care and because Syril doesn’t actually possess the authority to sanction an operation like this. Syril bullies the staff into compliance, telling them to put out a notice for the killer on Ferrix, despite the lack of authority Pre-Mor has there.

I like this scene, it plays slightly double-beaty because Syril is employing the same tactics as before on different staffers, but it also establishes it as a pattern. Syril advances unopposed in this story - especially in the context of later events, we know this is because we need to see him get into danger faster. It's another example of inverted danger.

15: EXT. PEGLA’S JUNKYARD - DAY (A-STORY)

Cassian tries rewire the ship he borrowed’s transponder codes, but in trying to justify his actions, pisses off Pegla and tells him he’s no longer welcome to take out favors from him.

This is a pretty lowkey scene, but it’s the closest we get to a crisis/climax moment for Cass in this episode. I’ll talk more about why that is later; it refers specifically to the way Andor modulates story in ways that work distinctly from other TV shows. Still, it has everything a scene should. A pursuit/tactic, opposition, reversal. And those elements push the story forward in more dangerous ways, as we’ll come to see in the next two episodes.

16: EXT. KENARI VILLAGE - DAY (B-STORY)

His sister tries to plead with him to stay, but Kassa leaves with the other war party members - promising to return for his sister.

Yeah, this bookends the episode. The episode begins with Cass in pursuit of his sister, the episode ends with Cass leaving his sister, never to return for her.

What do we hear Bix say of Cass in the last episode? “Cass always comes back.” It’s a gut-punch.

GENERAL NOTES AND OBSERVATIONS

Andor is a show that functions in a strange and specific way compared to a lot of serialized long-form narrative TV. Andor uses episode as building units to articulate larger discrete units of story within the season. In this sense, Andor’s “pilot episode” (I put this in quotes because most streaming dramas don’t have pilots) isn’t really the first episode, but all three of the episodes in its first season story-arc.

The way I was taught TV, is that all three-act narrative hinges on the elements of set up, play out, and pay off. Andor’s three tri-episode story arcs - which I will call the Ferrix Arc (S1E1-S1E3), the Aldhani Arc (S1E4-S1E6), and the Narkina Arc (S1E8-S1E10) - all hinge on this principle of modular three-act structure. Kassa doesn’t have a typical hard crisis/climax because it isn’t really a complete self-contained episode of TV. I suspect that’s also why the Ferrix Arc was ultimately aired all at one, as opposed to one episode at a time.

Still, Kassa is a strong and capable episode of TV because it demonstrates the strengths of Andor’s storytelling: the principles of causality, dysfunction, and institutional characterization.

causality: the chain of events in story that facilitate and heighten dramatic action in a linear manner. Andor shows us the investigation of the murders that happened in the first sequence - having the action of earlier scenes spiral into increasingly dramatic and complex action in subsequent scenes. The way the D-story with Bix and Timm loops into stuff that happens in the next two episodes is absolutely exquisitely done. Later in the show, the fallout of the Aldhani Arc is central to all of the action that happens in the second half of the season.

dysfunction: a character’s internal dilemma, ideology, or experiential understanding of themselves and the world that makes them operate transgressively within the world of the narrative. This is sometimes a character flaw, but can also be a sense of righteousness that puts them against unjust actors within the narrative. Cassian’s dysfunctions have to do with his desire for self-preservation and an easy payday, Syril’s dysfunctions relate to his inability to live up to his idealized notions of justice, and Timm’s dysfunctions come from the feeling that he can’t be as close to Bix as someone like Cassian can appear to be.

institution: the man-made structures that characters navigate within the story world and define the shape of the narrative. These institutions function as characters in their own right; Pre-Mor has as much of an effect on the narrative as a character like Cassian, as does Ferrix’s tightly knit working class community. And in subsequent episodes, we’ll look closely at how the empire’s administrations and power structures have material effects on the world. This principle is why Syril and Dedra spend much more time fighting their own institutions than fighting Cassian or the rebels. It’s a story about how highly-motivated actors navigate the challenges of their environments; dramaturgical complexity is almost an inevitable emergent property of this paradigm.

This episode and the one following it are among the least-tightly plotted of the season, but there’s still some intricate stuff. There are little moments in scenes where a single line provides an oppositional reversal that redirects the character’s trajectory for the rest of the episode. This isn’t a testament to Kassa’s weakness, it’s an appraisal of how Andor as a whole is a narrative that benefits from emergent complexity. When things go on for longer, more moving parts are in play, the story can move in unpredictable and highly dynamic ways. It’s a staple of prestige TV as a mode and Andor’s first season executes it exquisitely. With that being said, a lot of fans tend to underwrite the first arc of this season. And while I agree that it is personally my least favorite, it’s still really well-done. In the same way Andor has three tri-episode arcs, this is the “set up” one, and it does a lot of heavy lifting that allows the show to play uninhibited in future episodes. Don’t underwrite this one.

Thanks for reading! Let me know if there are any questions about terminology, theory, or just about the show in general, or my interests as a fan and writer.

#andor #andor meta #andor analysis #media analysis #star wars #andor 2022 #cassian andor #rebelcaptain #rogue one #story structure #writing #screenwriting #tv writing #story themes #writing tips #tv analysis #media discussion #media discourse #andor review

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agonycrossbow · 2 months

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The reason why Ada doesn't help Ashley remove Leon's plaga is because it would be thematically inappropriate for her to do so.

Storytelling is about more than just being factually logical. Does it really make sense for 120lb Ashley Graham to lift Leon's 250+lb ass with 100+lbs of gear on him and put him in the chair in Luis's lab? No. But that's not the fucking point of the scene. Ashley doing it on her own serves a thematic function and also helps reinforce the change she underwent as a result of her character arc.

So, let's start at the beginning:

What is a theme?

A theme is a central concept that binds the characters, the conflict, the plot, and the story's progression together. It's something that all of the major characters have in common and also exists as an undercurrent to the plot.

People in this fandom, by and large, have been able to pick out the concept of "can people change" as RE4make's theme, because it's the one that's the most explicitly stated as the word gets spoken out loud over and over and over again.

But RE4make has more than one theme.

Another one of RE4make's themes is "the importance of/power in being part of a team."

Teams can form in the unlikeliest of places.

Sometimes, a team is a group of weirdo scientists doing vaguely evil shit at a secret lab in Europe.

Other times, a team is an actual full military unit.

A team can be a religion.

Sometimes, a team is a giant walking erection megalomaniac and the spy who works for him.

And sometimes

Maybe sometimes

A team is the most skilled combat unit the US government has ever produced and a tiny blonde college girl.

The point is:

Ada's not part of that team.

At no point is she ever established to be part of that team. Separate Ways shows us that any time she helped Leon, it was either incidental or for the explicit purpose of furthering her own goal/ambition/interests.

Leon and Ashley are able to remove each other's plagas because that's the power of the team that they've formed. They got there by lifting each other up. Ashley couldn't have made it without Leon, sure, but Leon also couldn't have made it without Ashley.

The matching scars that Leon and Ashley end up with as a result of their radiation surgery are different from the matching scars that Leon and Ada have.

Leon and Ada's scars are a symbol that they once carried the same burdens.

Leon and Ashley's scars are a symbol that they once carried each other.

And that's a huge fucking difference.

Ada has no place in that scene, in that lab, on that team. She just doesn't. If Ada had poked her ass into that scene, it would've destroyed the thematic payoff for Leon and Ashley's teamwork thus far.

That's the point of her watching the "For Luis" scene play out. She realizes in that moment that she's not part of that world, and she starts to understand, in that moment, why Luis's dying wish was for her to help Leon.

Luis had just found his new team, and he'd let them down. His dying wish was for Ada to fill in. And Ada made a good substitute.

But that's all she was.

And because all she was was a substitute, she had no place in that lab -- because Luis was with them in the lab already. ("All of this... This was Luis?" "Yeah. We're alive, thanks to him.") Maybe only in spirit, but he was still there.

So what use would his substitute be in that scene?

#resident evil meta #remake RE analysis #story themes #writing reference

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attheendoftheline · 1 year

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Every time I start the show or I put the soundtrack on Road to hell gets me so pumped. It gets your blood flowing and builds anticipation for the coming story- it’s a fun song all things considered! It does exactly what it’s supposed to and I get so excited and seemingly forget everything I know is going to happen. I sit there with a smile on my face because maybe things will turn out this time, even if I know it won’t.

#I sit down ‘oh boy sure hope nothing bad happens :)’#Hadestown #hadestown broadway #hadestown musical #circular story #story themes #anaïs mitchell #hermes hadestown #musicals

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oldfashionedidiot · 8 months

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Themes in Writing

When it comes to writing stories there will be an underlying theme to it. Theme is the overall message of the story told by the author through the characters and the plot. Here are some helpful links to further understand the topic as well as some themes that you can write!

Links for developing a theme in your story:

Building Theme In Your Story (@ sunnydwrites on tumblr)

The Secret Ingredients For Writing Theme (@ davidfarland on tumblr)

What is a Theme? (Reedsy)

Themes that you can write in your story:

Pursuit of Love

Coming of age

Survival

Death

War

Found family

Friendship

Freedom / free will

Family

Finding a reason to live

Redemption

Prejudice

Good vs. Evil

Circle of Life

Loneliness

Loss of innocence

Rebirth

Courage

Revenge

Forgiveness

Justice

Betrayal

Fate vs. Doubt

Hubris / Pride

Sacrifice

Man vs. Self

Power

Corruption

Limits of Knowledge

Honor

Grief

Extras! Here's an extra link to a website with 101 themes if this list doesn't satisfy you. Happy writing!

101 Literary themes

#themes #story themes #writing theme #writing #story #literature #prompts #theme prompts #book #writing help #developing theme #something i decided to do on my free time #writer #author #building theme

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all-eyes-no-dragon · 11 months

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WIP Themes Tag

Tagged by @gummybugg !

Rules: Bold the themes that appear in your WIP & italicise those that are loosely covered then tag 10 people.

I'll be using my WIP "A Tale Of Two Tyrants" for this:

Tags:

@lyutenw @feline17ff @equallyloyalandlethal @dutdutdutdutdut @gaypiratebrainrot @so-many-ocs @allisonilluminated @epersonae @cosette141 @theyoungwritersmind-aristanelson

you're free to ignore, sorry for the tags <3

#original writing #original story #atott #a tale of two tyrants #thanks for the tag!#got tagged #sorry for the tags #anyone I tagged #wips game #writing wip #story themes #writing #writers #writerscommunity #soko

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minamoroz · 11 months

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WIP Theme Tag!

Thank you to the lovely @author-a-holmes for the tag! Tagging forward to anyone else who wants to play! <3

Rules

BOLD themes that are strongly explored in your wip, and ITALICIZE themes that are loosely explored!

I’m going to do this for my current WIP, SoIaS <3

(clear version under the cut for your convenience!)

#writer tag #wip themes tag #tag games #my wips #my original works #shard of ice and sorrow #authorminamoroz #minamoroz #work in progress #story themes

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mysticdragon3md3 · 26 days

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I love that Madoka Magica and Kamen Rider Gaim both explore this theme. It was such an epiphany.✨

#spoilers #SPOILERS SPOILERS SPOILERS #puella magi madoka magica #kamen rider gaim #gen urobuchi #story themes #screengrabs #quotes #favorites #madoka gaim #gaim madoka

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thehyperrequiem · 1 year

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Hyper's Hyperactive Story Themes

What up suckas, it's ya gal here and today I am bringing you some story theme ideas for you guys just in case of Writer's block. So here are the ideas, which you can change the plot for some stories if you want.

☢️ Mutant - Looks like there is an experiment going on and it worked well on some characters, turning them into mutants! Sure, it may be cool and all, but it can get too much for them to handle. It's up to them to find out how to cure them before it is too late.

🐉 Dragon - An Ancient Dragon totem has been found by someone and it turns anyone who is in its range into dragons! But once the Dragon Totem vanished, the dragons must adjust to their new bodies and find a way to get back to normal before they are stuck like dragons forever!

🧿 Elemental - A cluster of Magical crystals called Elementanium has been found, and someone's using it to turn anyone into Elementals! Granted with magical element powers, the group of misfits must find the culprit and get themselves back to normal!

👺 Scary Cursed - Someone has unleashed a scary curse, and it's turning everyone in the spell's range into a scary monster, like werewolves, dragons, vampires, any hideous monstrosities, you name it! The Heroes must find the way to get rid of this bad curse and stop the culprit once and for all before they are used for a freakshow!

🐾 Beastly - Everything seem to be a nice and normal day, but then all of a sudden, something or someone is turning everyone into wild animals and what's worst is that they are put into cages and being put into a zoo! The heroes must find a way to escape, turn back to normal and stop the culprit before more damage is done!

💖 Custom Hearts - Legend tells of some heroes will awaken when needed and magical heartstones that grants them magical powers! When Evil has awakened, our heroes must collect hearts in order to become powerful and save the world!

🦖 Dinosaurs - A Prehistoric Curse has rocked the world, turning anyone in the range of the spell into Dinosaurs! And someone’s capturing them for their big scheme; A Prehistoric Show! It’s up to the heroes in their new Dino bodies to stop this bad guy and find the way to turn back into human before they are stuck as Dinos forever!

🦄 Mythical Creatures - During the hike, a group of beings have found a magical source of mythical creatures; The Pond of Magic, which has turned them into Mythical Creatures! With their new magical powers, they shall use it for good things and defend the pond from someone who wants more powers…magical mythic powers to be exact!

🐛 Insects - Someone is on a rampage and this time, they are turning people into Insects by some Ray-gun and they are collecting the insects for his special bug collection! Our heroes must find a way to adjust the new insect bodies, stop the culprit, turn themselves back to normal and save everyone before they will be squished!

🧬 Experiment - One hero must save the day, and that hero is…a Experiment, who must find the way to find the culprit and get themselves cured back to normal, but it would be a race against time because by any hour or minute, the experiment would start to go through a monstrous change…

You can add your kinds of twists into any story theme you want if you feel very creative enough.

#story prompts #writing ideas #story themes

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mossflower-trails · 1 year

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There's no one following this blog yet, but I have thoughts to liveblog about The Taggerung, so I'm gonna do that. I'm not finished rereading it all yet but I'm getting there.

I loved this book as a kid! I understand potential reasons why some choices were made in the narrative. BUUUUT I'm still gonna critique it and analyze it. I want to try and do so in a way that's still in-line with Kid's Book Reading Level though.

So regarding a theme of Healthy and Unhealthy Family Interactions

Firstly, oh boy, I want an entire section which shows Tagg's relationship with Sawny and how the former managed to come out of it still Pure Of Heart.

Because either:

Life in the Juska Clan wasn't that bad, meaning vermin can be Normal

Or life in the Juska Clan was Very Bad, which is canon but really could use the added detail of: Tagg comes out of this with some Issues

Hell, in the latter, it could give him stuff to bond further with Nimbalo. The message doesn't even have to go that deep into it: "Hey kids, sometimes people you regard as family will hurt you, but you'll find other loving people if you keep being true to yourself."

This also comes up in Tagg going all white savior on meeting the pygmy shrews who Just Don't Know Any Better than to sacrifice a creature to the eel. It was implied that, somehow, the shrews got the idea that their food won't come back unless they do this evil act, but it was framed as their own silliness, ie They Don't Know Any Better. Instead, the eel maybe could have been shown manipulating and threatening them. Showing us this can point us towards an altered message of: "Hey kids, sometimes people you love (the shrews) are bad to you (the chieftain's daughter) because they're also being abused (the eel), but it doesnt give them the right to do bad."

We could have multiple examples to emphasize similar but different family issues along Tagg's journey (the watervoles, Madd, the elderly flatlands shrew, etc).

Once again I love these books and this isn't a bashing post - they formed a great part of my childhood and I'm grateful to their existence tbh. This is more a thought exercise in how it could have been and how I personally would have liked it. I'm enjoying my revisit and it's giving me a lot to think about! (Also, the audiobooks are very well-acted)

Feel free to share your thoughts as well if you see this 🦦

#taggerung #the taggerung #redwall #redwall discussion #redwall fandom #brian jacques #story analysis #book analysis #story themes #writer thoughts

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