Monday, April 20, 2015
Saturday, April 11, 2015
V4 Sneak Peek #12: Winchester Manor Mania
Time for another update- and we're kicking this one off with exciting news.
Tray Butler of the Lackadaisy comic series has started a Patreon!
( https://www.patreon.com/lackadaisy )
If you know Lackadaisy, you're probably pausing this video right now and checking it out. And if you don't know what Lackadaisy is- pause this video right now, click the link in the lowbar, and check it out!
It's one of my favorite comics of all time, Tracy's art and wit has been a colossal personal inspiration. Crowdfunding is the new face of comics- readers like you are finally in the drivers seat. No more distribution monopolies, no more middlemen- just us. Creators and readers. So if there's work out there you love, a unique comic that merits success- it's up to you to make it succeed.
I'm planning to launch a Thunderclap for the new Lackadaisy Patreon soon- stay tuned to our social media for updates if you'd like to be a part of it.
READER SPOTLIGHT
Time for the Reader Spotlight- you guys have been doing some awesome stuff, and I wanted to show off at least a little sampling here. Links to everything in the lowbar.
STJ has a great illustration of her character duking it out with Nabonidus.
http://superflatpsychosis.deviantart.com/art/Your-Worst-Nightmare-502297878
Solo-ion has a sample of what looks to be a Dreamkeepers game in the works- I can hardly wait to see where this is going, looks awesome!
http://solo-ion.deviantart.com/art/Terrarian-Dreamkeepers-First-Trailer-Short-524733376
This fanart of Vi came out freaking gorgeous- it's in Deviantart as well.
http://s-t-r-i-k-e-r.deviantart.com/art/Serenity-524707445
That and more Dreamkeepers art on display in the Fan group there.
http://dreamkeepers-fans.deviantart.com/
I'd never heard of what 'Loop' fanfiction was, but WiseOwl has written some- so if you're interested in a multiverse's worth of fun, and seeing Mace meet Harry Potter, hop over to the forum and check it out.
http://www.dreamkeeperscomic.com/forum/?t=511
And last but not least- one kind-hearted reader sent Chico some sunflower seeds.
(video)
Another quick bit of news- there's a brand new review of Dreamkeepers up on Sequential Tart! Link in the lowbar- thank you to Sequential Tart for giving us a review, that's absolutely awesome.
http://www.sequentialtart.com/reports.php?ID=8840
Alright- you've come this far... Now it's time to delve a little deeper into Volume 4.
I'm creating this update because Chapter 12- the final Chapter- is half done. From the moment I post this video, I'll be working to shade the last half, and then- probably in May- it'll be Kickstarter Time.
I'll leave you with a little glimpse into this panel from Chapter 12.
You may notice some things are a bit- off with this room. The table with no top, the skewed doorways, the stairway to nowhere...
This setting was partially inspired by the real-life Winchester mansion. When William Winchester died, his widow Sarah became convinced that ghosts from beyond the grave were coming to get her- the avenging spirits of those killed by the famous Winchester repeating rifle.
To escape them, she turned the family mansion into a labyrinth, a bizarre architectural maze that would confuse any ghosts trying to reach her. She never stopped adding onto the monstrosity of a building until the day she herself became a spirit.
Of course, this setting isn't the Winchester Mansion-
This is something else.
Well, that's it for now! The next video update will likely be a pre-Kickstarter video, running stretch goal ideas past you and asking for feedback.
Speaking of feedback, someone mentioned it might be nice for me to post audio versions of some of my story and writing blogs- so, why not? I won't have time to animate it or anything, but I can at least make a quick audio recording if it would come in handy for some people.
Thank you everyone for listening- subscribe and stuff- 'till next time!
Friday, April 10, 2015
Lackadaisy Thunderclap
Thunderclap here: https://www.thunderclap.it/projects/24841-lackadaisy-unleashed?locale=en
Tracy Butler of Lackadaisy has started a Patreon!
( https://www.patreon.com/lackadaisy )
If you're unfamiliar with the Eisner-nominated Lackadaisy, click this and enjoy one of the finest comics ever committed to paper:
( http://www.lackadaisycats.com/index.php )
This is a momentous occasion to me for a couple reasons.
First, of course, Lackadaisy is among my favorite comics of all time. Tracy's art and wit has been a colossal inspiration, a monument to what a spark and a pencil can bring to the world.
And secondly, I see this as a milestone on the way towards a better future for all of comics.
The past few decades mainstream comics have been, by and large, more of the same. More capes, more spandex, more reboots.
Now I like Professor X as much as anyone. It's not bad that this stuff continues- what IS bad is that it has continued to the deliberate exclusion of originality in the marketplace.
Diamond's zero-sum monopoly has a chokehold on distribution, with exclusive back-room hookups for Marvel and DC. They've done a crackerjack job of intentionally snuffing out independent upstarts- for way too much info, see my old articles: ( http://vividstuff.blogspot.com/2008_12_01_archive.html )
The short version is that middle-men got in the way and stayed there- carving out more room for themselves by pushing out readers and creators alike.
But then internet.
The answer to industry stagnation has been the explosion of glimmering gems that is webcomics. No middlemen or gatekeepers here- anyone can create, and everyone can read. Heretofore unimagined stories, unthinkable concepts, are coming to life.
But the big missing link for this new market has always been funding. Creators can create- but only if they can eat. The best work requires huge commitments of time, and if our finest talents have to spend their time at a Joe Job, then that work doesn't happen. But how can an artist make a living in a market flooded with free content?
Recent years have revealed an answer.
Crowdfunding. Kickstarter, Patreon- these sites are permanent game-changers.
They are the comic shops of tomorrow- offering opportunity to every creator, and producing exactly what readers value, with near total freedom.
But that's the thing about freedom, isn't it? It carries that rider, responsibility.
Now it's on us.
Storytellers galore will be presenting their best- but it's up to you, the reader, to choose the gems that must endure. If they do- if the finest work rises to the top- it will be a beacon of inspiration for generations of creators to come.
So if there's work out there you love, a unique comic that merits success- the creator can only make the work. It's up to you to make it succeed.
For me, Lackadaisy is one of those comics. Tracy has made a bold move, walking away from a gaming industry job to pour her heart into her work. And I want to live in the kind of world where a creator of her caliber is rewarded for that kind of risk.
So as a reader, I'm pulling out all the stops, and trying out this thing called a 'Thunderclap.'
Basically it's like tweeting on steroids- people can sign up to participate, and then the message goes out amplified by hundreds of voices.
So if you feel the same way about Lackadaisy that I do, please help out with this Thunderclap- and let's move forward to a future of unfettered creation!
https://www.thunderclap.it/projects/24841-lackadaisy-unleashed?locale=en
Tracy Butler of Lackadaisy has started a Patreon!
( https://www.patreon.com/lackadaisy )
If you're unfamiliar with the Eisner-nominated Lackadaisy, click this and enjoy one of the finest comics ever committed to paper:
( http://www.lackadaisycats.com/index.php )
This is a momentous occasion to me for a couple reasons.
First, of course, Lackadaisy is among my favorite comics of all time. Tracy's art and wit has been a colossal inspiration, a monument to what a spark and a pencil can bring to the world.
And secondly, I see this as a milestone on the way towards a better future for all of comics.
The past few decades mainstream comics have been, by and large, more of the same. More capes, more spandex, more reboots.
Now I like Professor X as much as anyone. It's not bad that this stuff continues- what IS bad is that it has continued to the deliberate exclusion of originality in the marketplace.
Diamond's zero-sum monopoly has a chokehold on distribution, with exclusive back-room hookups for Marvel and DC. They've done a crackerjack job of intentionally snuffing out independent upstarts- for way too much info, see my old articles: ( http://vividstuff.blogspot.com/2008_12_01_archive.html )
The short version is that middle-men got in the way and stayed there- carving out more room for themselves by pushing out readers and creators alike.
But then internet.
The answer to industry stagnation has been the explosion of glimmering gems that is webcomics. No middlemen or gatekeepers here- anyone can create, and everyone can read. Heretofore unimagined stories, unthinkable concepts, are coming to life.
But the big missing link for this new market has always been funding. Creators can create- but only if they can eat. The best work requires huge commitments of time, and if our finest talents have to spend their time at a Joe Job, then that work doesn't happen. But how can an artist make a living in a market flooded with free content?
Recent years have revealed an answer.
Crowdfunding. Kickstarter, Patreon- these sites are permanent game-changers.
They are the comic shops of tomorrow- offering opportunity to every creator, and producing exactly what readers value, with near total freedom.
But that's the thing about freedom, isn't it? It carries that rider, responsibility.
Now it's on us.
Storytellers galore will be presenting their best- but it's up to you, the reader, to choose the gems that must endure. If they do- if the finest work rises to the top- it will be a beacon of inspiration for generations of creators to come.
So if there's work out there you love, a unique comic that merits success- the creator can only make the work. It's up to you to make it succeed.
For me, Lackadaisy is one of those comics. Tracy has made a bold move, walking away from a gaming industry job to pour her heart into her work. And I want to live in the kind of world where a creator of her caliber is rewarded for that kind of risk.
So as a reader, I'm pulling out all the stops, and trying out this thing called a 'Thunderclap.'
Basically it's like tweeting on steroids- people can sign up to participate, and then the message goes out amplified by hundreds of voices.
So if you feel the same way about Lackadaisy that I do, please help out with this Thunderclap- and let's move forward to a future of unfettered creation!
https://www.thunderclap.it/projects/24841-lackadaisy-unleashed?locale=en
Friday, March 13, 2015
Between the Pages: Can we pretend it’s still December? Please?
Because reindeer are seasonal, and well, this is March. There’s a lesson to learn.
It begins with wanting something that doesn't exist. Projects always begin that way. And in this case, the problem was wanting a large prancing white reindeer for the holidays, which seemed like an easy to find item. But it isn't.
There are large plush by Hansa, there are lit outdoor light shows, but it is very hard to find a large glittery snow reindeer in mid dance. Even at Bronners, the largest Christmas store. The nerve.
This little ornament that I didn't make provided inspiration:
.jpeg)
As well as one of our readers, Gloves, back in November suggesting “why don’t you make one?”
Le sigh. Here we go.
In tradition of the previous carousel horses, here’s a sketch of the reindeer project:
A pattern of one of the sides:
The peppermint pole was inspired by Christmas stools that my Uncle John painted for Aunt Dawn, and was going to light up.
The foam core skeleton that would be filled with lights, then wrapped in tissue paper to give a rounded form. The floor lamp stopped working so it became a ‘North Pole’ carousel. Lights were going to be added later. The antlers were going to be a clay material.
This deer looks Terrible.
Clay is too heavy to sculpt something this size with personality, I’m not casting silicone molds right now, and paper mache was out. Mostly, I don’t want to look at this thing once a year. Or ever.
The plastic molds of the horses had worked so well, instead of looking for an answer to imagination, couldn’t one be compromised and painted?
Yes, yes they can.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Choosing your Plastic Christmas Reindeer:
Unlike the decoys offered in hunting stores, these are a seasonal product, appearing mostly from November through January. They are called “ blow molds “ or “blowmolds” the idea being that they are hollow, sit outside with an electric light and eventually become a fire hazard. There are Santas, bunnies, Halloween themed ones, the nativities are popular. Nearly all were produced in the 60’s and are considered vintage and antique. The plastic reindeer come from a two piece mold, meaning that their legs are attached together in a leaping motion and can be bought separate of Santa‘s sleigh. They need a wire or pole to stand up. Ebay, Etsy, and Craigslist are friends.
The most common reindeer is the cutesy Empire reindeer, still produced today. He’s 34 inches long, 19 inches high. Antlers are added separately. (pic used from ebay)
.JPG)
The Poloron reindeer is the most detailed with a fur texture and screw-in ears and antlers. Their heads are also removable. I chose this mold (mine is actually Beco, the design was bought later by Poloron) because of the beautiful fur details and the connecting legs don’t look too bad. The Polorons also connect to a Santa sleigh. One deer is 36 inches long by 31 inches tall.
(pic used from ebay)
I don’t-I don’t even know what to make of these. They have creepy faces and amazing legs. They just popped up on eBay randomly, made in the late 50’s, and vanished. I would love to try painting these. Once in a while a blow mold will appear on eBay and nobody knows where it came from.
(pic from ebay)
According to internet lore, blow molds were discontinued during the energy crisis of the 1970’s.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
My reindeer is a Beco mold. Acquired in January he was washed, given a silver undercoat, (it was very easy to paint because the head is removable) and drifted away from the original color concept.
Deer at rest.
I learned that it’s possible to add sculpted pieces to the plastic, like the leg cuffs. Hobby Lobby has a wide variety of stick on gems and pearls that replaced most of the glitter plan. Dad’s hardware knowledge was essential not only to attach the pole; the deer’s neck needed special repair with a dowel. All in all, ’Radar’ became less about a snow reindeer and more of an extended production.
I love red and white swirls.
The blue was supposed to be a light accent color, but the glitter matched our little blue Christmas tree (in earlier photo). The plastic candy canes on the antlers can be replaced by ornaments, etc.
The biggest problem and set back was the timing.
If you choose a reindeer during the right season, you still have to wait. Without a garage, it’s too cold to spray the needed fixatives until approximately 50 degrees. And all of the fun bling and sequins can’t be added until that last coat. The spray will take away all shine from gem stones if added too early. I thought Radar would be done by December and did most of the bling shopping at Thrift Stores (North Pole sign, unused lights, big ornament ball, snow flake, ribbons, wreath). I did that part right, at least. Christmas bling just isn’t available whenever you need it, and is usually one of a kind at the thrifts. When making a seasonal creature, timed shopping is everything. That’s the lesson: timing is the key here. From foam core to little plastic pearls, this came together well, but stretched from November to mid March. Now I can't even take snow pictures until next year.
It's going to be a challenge putting him away in the summer, I just stopped walking into him in the middle of the night.
**Where's the lighting?? Unfortunately the blow molds don't glow well after being painted. There are LEDs and rope lights, but it's all about personal preference and I didn't like how they look. Even spiraling on the pole was a mistake.
And isn't reliant on a wall outlet.
A late TA DA. Now I have to wait nearly a year to take snow pictures with the deer. He will go into storage until November. I'd love to paint more deer with themes or the colors gold, or red and green holly everywhere, but now it’s time for a moment to visit Cabelas. Check out their deer, maybe look at some plastic ducks or something.
-Liz
It begins with wanting something that doesn't exist. Projects always begin that way. And in this case, the problem was wanting a large prancing white reindeer for the holidays, which seemed like an easy to find item. But it isn't.
There are large plush by Hansa, there are lit outdoor light shows, but it is very hard to find a large glittery snow reindeer in mid dance. Even at Bronners, the largest Christmas store. The nerve.
This little ornament that I didn't make provided inspiration:
As well as one of our readers, Gloves, back in November suggesting “why don’t you make one?”
Le sigh. Here we go.
In tradition of the previous carousel horses, here’s a sketch of the reindeer project:
A pattern of one of the sides:
The peppermint pole was inspired by Christmas stools that my Uncle John painted for Aunt Dawn, and was going to light up.
The foam core skeleton that would be filled with lights, then wrapped in tissue paper to give a rounded form. The floor lamp stopped working so it became a ‘North Pole’ carousel. Lights were going to be added later. The antlers were going to be a clay material.
This deer looks Terrible.
Clay is too heavy to sculpt something this size with personality, I’m not casting silicone molds right now, and paper mache was out. Mostly, I don’t want to look at this thing once a year. Or ever.
The plastic molds of the horses had worked so well, instead of looking for an answer to imagination, couldn’t one be compromised and painted?
Yes, yes they can.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Choosing your Plastic Christmas Reindeer:
Unlike the decoys offered in hunting stores, these are a seasonal product, appearing mostly from November through January. They are called “ blow molds “ or “blowmolds” the idea being that they are hollow, sit outside with an electric light and eventually become a fire hazard. There are Santas, bunnies, Halloween themed ones, the nativities are popular. Nearly all were produced in the 60’s and are considered vintage and antique. The plastic reindeer come from a two piece mold, meaning that their legs are attached together in a leaping motion and can be bought separate of Santa‘s sleigh. They need a wire or pole to stand up. Ebay, Etsy, and Craigslist are friends.
The most common reindeer is the cutesy Empire reindeer, still produced today. He’s 34 inches long, 19 inches high. Antlers are added separately. (pic used from ebay)
The Poloron reindeer is the most detailed with a fur texture and screw-in ears and antlers. Their heads are also removable. I chose this mold (mine is actually Beco, the design was bought later by Poloron) because of the beautiful fur details and the connecting legs don’t look too bad. The Polorons also connect to a Santa sleigh. One deer is 36 inches long by 31 inches tall.
(pic used from ebay)
I don’t-I don’t even know what to make of these. They have creepy faces and amazing legs. They just popped up on eBay randomly, made in the late 50’s, and vanished. I would love to try painting these. Once in a while a blow mold will appear on eBay and nobody knows where it came from.
(pic from ebay)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
My reindeer is a Beco mold. Acquired in January he was washed, given a silver undercoat, (it was very easy to paint because the head is removable) and drifted away from the original color concept.
And he's had enough.
I learned that it’s possible to add sculpted pieces to the plastic, like the leg cuffs. Hobby Lobby has a wide variety of stick on gems and pearls that replaced most of the glitter plan. Dad’s hardware knowledge was essential not only to attach the pole; the deer’s neck needed special repair with a dowel. All in all, ’Radar’ became less about a snow reindeer and more of an extended production.
The biggest problem and set back was the timing.
If you choose a reindeer during the right season, you still have to wait. Without a garage, it’s too cold to spray the needed fixatives until approximately 50 degrees. And all of the fun bling and sequins can’t be added until that last coat. The spray will take away all shine from gem stones if added too early. I thought Radar would be done by December and did most of the bling shopping at Thrift Stores (North Pole sign, unused lights, big ornament ball, snow flake, ribbons, wreath). I did that part right, at least. Christmas bling just isn’t available whenever you need it, and is usually one of a kind at the thrifts. When making a seasonal creature, timed shopping is everything. That’s the lesson: timing is the key here. From foam core to little plastic pearls, this came together well, but stretched from November to mid March. Now I can't even take snow pictures until next year.
It's going to be a challenge putting him away in the summer, I just stopped walking into him in the middle of the night.
**Where's the lighting?? Unfortunately the blow molds don't glow well after being painted. There are LEDs and rope lights, but it's all about personal preference and I didn't like how they look. Even spiraling on the pole was a mistake.
I call this "a mess".
I believe that the piece looks better unlit.
And isn't reliant on a wall outlet.
A late TA DA. Now I have to wait nearly a year to take snow pictures with the deer. He will go into storage until November. I'd love to paint more deer with themes or the colors gold, or red and green holly everywhere, but now it’s time for a moment to visit Cabelas. Check out their deer, maybe look at some plastic ducks or something.
-Liz
Monday, February 23, 2015
ZOOPHOBIA
I'm stuffy when it comes to books.
If I can't have a copy in my hands, my desire to read drains away. I'm very sorry, All Webcomics- but if trees haven't died to bring us together, odds are we won't meet.
But I stumbled across Zoophobia- and, hot damn. Intense, vibrant, it blew through my fuddy-duddy preferences and had me hooked. If you haven't seen it yet, just take a glimpse:
http://zoophobiacomic.com/
The cartoony style explodes with life. It's manic, distorted, potent- reminiscent in some ways of Ren and Stimpy.
Now, as a kid, I never really got into Ren and Stimpy. It's a great cartoon, of course- it was groundbreaking with its perfectly articulated vulgarity. Other cartoons have followed in it's footsteps, using exaggerated visuals to amplify their satire.
I think as a kid, that's why I never got heavily into Ren & Stimpy. I had a thirst for emotionally relatable stories, but their style was used to spotlight grotesque absurdity.
And in mainstream cartooning, that's what this dynamic style came to be used for- sarcastic depictions of stupidity. Suitable for mockery, or shows that patronize children.
Not so with Zoophobia.
I think that's one of the reasons I love the series- it's a counterpoint, proving that exaggerated cartooning isn't by definition limited to derisive caricature.
Vivienne takes this beautiful style and uses it with sincerity and verve. The characters are distinctive and lively- and while humor is present, it isn't used to denigrate the cast. They're fleshed out over time, allowing a full spectrum of emotions and drama to emerge, amidst a wildly imaginative yet coherent fantasy world.
If that sounds like your cup of tea, try the link above and give it a read! And, hey- free cartoon! Vivienne posted her award-winning thesis animation not long ago:
https://www.youtube.com/watch?v=gCusehQROC8
She's got a Patreon here: http://www.patreon.com/VivienneMedrano
And a tumbler: http://zoophobiacomic.tumblr.com/
So if you were ever curious, go forth and enjoy the visual incarnation of fun.
If I can't have a copy in my hands, my desire to read drains away. I'm very sorry, All Webcomics- but if trees haven't died to bring us together, odds are we won't meet.
But I stumbled across Zoophobia- and, hot damn. Intense, vibrant, it blew through my fuddy-duddy preferences and had me hooked. If you haven't seen it yet, just take a glimpse:
http://zoophobiacomic.com/
The cartoony style explodes with life. It's manic, distorted, potent- reminiscent in some ways of Ren and Stimpy.
Now, as a kid, I never really got into Ren and Stimpy. It's a great cartoon, of course- it was groundbreaking with its perfectly articulated vulgarity. Other cartoons have followed in it's footsteps, using exaggerated visuals to amplify their satire.
I think as a kid, that's why I never got heavily into Ren & Stimpy. I had a thirst for emotionally relatable stories, but their style was used to spotlight grotesque absurdity.
And in mainstream cartooning, that's what this dynamic style came to be used for- sarcastic depictions of stupidity. Suitable for mockery, or shows that patronize children.
Not so with Zoophobia.
I think that's one of the reasons I love the series- it's a counterpoint, proving that exaggerated cartooning isn't by definition limited to derisive caricature.
Vivienne takes this beautiful style and uses it with sincerity and verve. The characters are distinctive and lively- and while humor is present, it isn't used to denigrate the cast. They're fleshed out over time, allowing a full spectrum of emotions and drama to emerge, amidst a wildly imaginative yet coherent fantasy world.
If that sounds like your cup of tea, try the link above and give it a read! And, hey- free cartoon! Vivienne posted her award-winning thesis animation not long ago:
https://www.youtube.com/watch?v=gCusehQROC8
She's got a Patreon here: http://www.patreon.com/VivienneMedrano
And a tumbler: http://zoophobiacomic.tumblr.com/
So if you were ever curious, go forth and enjoy the visual incarnation of fun.
Saturday, February 14, 2015
Wednesday, February 11, 2015
The Game Behind a Good Story
Previous articles revealed tricks to snag reader interest- but what keeps that spark alive?
When a promising concept with sparkling characters goes soggy midway through the story, when readers leave in disgust, what exactly is happening? How can wildly fantastical movies with spaceships, dragons, and magic be considered perfectly plausible, only to be condemned as 'unrealistic' over the most mundane of details?
For the answer we're putting down Finnigan's Wake and picking up Super Metroid. Because there's something necessarily inherent to games that reveals the secret of a satisfying story.
There are plenty of things that might ruin a game- but violate this one sacred principle, and you can make the experience universally detested by players.
Games require rules.
Now, a quick aside: In various circles that's a hotly contested assertion. Some are quick to declare that 'game' means anything anyone wants, and definitions somehow suppress creative expression.
https://www.youtube.com/watch?v=blj91KLOvZQ
I'm not itching to get into philosophical battles here, but I personally find it helpful when words have meaning. Non-subjective definitions allow clear communication of ideas, something that I don't see as inherently oppressive.
So, for the purposes of this article, a game has rules.
Internally consistent laws that define what can and cannot happen.
...Fine, except for Calvinball.
But really- put this to the test. What is 'tag' without rules?
Tag- you're it! Or not?
You could call such a thing playing, to be sure- running around, engaging in activity, slapping at one another. But without rules there is no context to lend relevance to any actions.
The entire experience of a game is predicated on consistent rules. And when it's not, people get pissed.
It's not difficulty in a game that causes frustration. Gamers will accept an insanely hard game, will accept losing over and over again as long as the game is true to its own rules. Because if they lose, they attribute that setback to their own lack of skill. And they work to get better- because they can.
Contrast that to a game that capriciously kills players, without warning, at random. If introduced early, players might try to work around this obstacle- but if it truly is arbitrary, if skill and effort have no impact on their experience, that game will soon be dropped. For a simple reason:
That's a recipe for dissatisfaction.
Players will accept the context a game establishes, and struggle within it- but yank that context out from under them, and they will conclude they're being unfairly treated. And leave.
Only one thing in a game can be arbitrary- the initial rules. Within that framework, a player wants freedom. If the rules themselves shift for no reason and impede player agency, then suddenly skill, strategy, and effort- i.e. playing- is rendered pointless.
That's how to ruin a game- have it break its own rules. And guess what?
It's also exactly how to ruin a story.
But wait, I hear some saying.
A story and a game are different. After all, I was being a stickler about definitions above. Of course checkers needs rules. But a story? A story is about that most unpredictable of subjects, human nature. It charts quicksilver interactions between mercurial personalities and situations. Rules? BAH! Authors scoff at such things.
And surprise surprise, a lot of stories suck.
It's true stories and games are different. But there is overlap- and it pays to comprehend the core, common ingredient, the one thing fundamentally necessary to both stories and games:
Conflict.
An objective to accomplish, in the face of obstacles or competition- a problem to solve.
I once read that story structure is really nothing more than problem structure, and that rings true.
A narrative is the introduction of a problem, how that problem is dealt with, and the results of dealing with the problem.
But here's the thing about solving a problem- whether in a game, in a story, or even in mathematics: The reality around that problem has to stay consistent for the solution to be applicable.
Some authors may be tempted to frown on such a simple characterization of story- it is far deeper than just 'fix the problem.'
Fiction does hold marvelous potential for complexity to unfold- but that makes a stable simulation even more critical to maintain.
It's like having a computer performing a careful calculation, and then pouring water on the circuits. You wanted to process information and solve for an answer- but by interrupting the calculation, the answer is lost.
Look at chess.
The strategies that can emerge from chess approach baffling levels of complexity, pushing the human cognitive capacity near its limits.
But if you suddenly change the configuration of the chessboard mid-game, erase three rows and declare that checkmate is no longer the win state - well, that game just got ruined.
The mental investment on the part of the players, their tactical considerations, moves and countermoves, everything they poured into that game is capriciously nullified. Meaningless.
And having pointless events is a cardinal story sin.
Now if you're pretentious enough, you might think this makes great Art, with a capital 'A'. But for us mortals trying to get by with limited resources, we need all the information we can get. For us, art needs to help in that task. Effective art communicates. That's actually why it's entertaining- our brain rewards us with a shot of dopamine when it's learning something deemed valuable.
That's why human brains are optimized to consume story- it's a highly effective way of absorbing information without risk. A way of simulating problems and challenges without facing harmful real-life consequences.
Which, when you think about it, is strikingly similar to the purpose games can serve.
So understand- in your first Act, you are laying down the rules, establishing the reality of your story, setting the tone, displaying what is plausible, showing what the characters are like. Your story could be set on Mars, in a post-apocalyptic steampunk world, or in Nazi Germany where dinosaurs never went extinct.
The 'game board' for your story can be wildly unrealistic. The audience will understand that the game board is fantasy. But your story takes place on the surface of that game board- and for the events to remain coherent, that surface must hold together.
It's non-negotiable. The simulation must follow its own rules. Because if it doesn't, the audience will conclude that the story is arbitrary, the events meaningless, the characters contrived.
That's how you can tell when a story is breaking its own rules- when someone in the audience calls bullshit.
When they groan and say, "Come on, that wouldn't happen!" or "She would never say that!"
Perhaps the hero has just leapt gracefully over an exploding grenade without hitting a wisp of shrapnel. If it's the game board of 'Last Action Hero,' we accept it- because that's not what the simulation is 'about.' But if it's the gritty realistic world of Die-Hard, this would be a breach of contract for the viewer. On that game board, grenades kill- and if they suddenly don't, the game is broken.
The rules aren't just about physical action.
Perhaps in a romantic comedy, the female lead decides to inexplicably drop her objections and marry the protagonist- for no other reason than it says so in the script. If her choice runs contrary to what the story has established regarding her personality, then the audience will be left with that same vague feeling of betrayal.
In either case, the writers have cheated. They couldn't figure out how to get the answer they wanted within the parameters of their simulation- so they warped reality to make things work out a certain way.
When a reader notices this, it drains satisfaction like air from a tire. Because they are no longer being shown how a problem could 'really' be solved. The truth is gone.
This becomes even more important when a story grapples with deep thematic issues. What principles work in life? Which morals are applicable, which are facile ideology? What should we value, and why?
A story sets those principles into action, and shows us what would 'actually' happen.
That is why stories must tell the truth. And they do it in precisely the same way a game establishes an enjoyable experience-
By logically simulating conflict within a framework where actions matter.
Are predictable stories boring?
Often, yes.
But I don't directly equate internal consistency with predictability.
Chess has predictable rules- but you can still launch a surprise attack on your opponent.
And if the problem being explored in a story is interesting enough there should be room for twists and surprises. In fact, twists require a coherent foundation to be effectual. If everything is arbitrary and makes no sense, there are no twists- just more stuff happening.
Hopefully all of the above also sheds light on climaxes, conclusions, and how to handle them.
At the end of a story, readers want to see how a problem can finally be solved- given what they know about the situation.
This is why the deus ex machina is such a depressing cop-out.
We want the protagonist to take what they've learned in the story- their experiences, their allies, their enemies, their principles- and apply them to effect a resolution to the problem. If some random element is suddenly plonked onto the game-board that we've never seen before, something that just happens to magically solve the problem at hand-
Well then, the entire preceding simulation regarding that problem becomes rather irrelevant, doesn't it?
...I'm lookin' at you, Elder Wand.
There's a lot more to keeping a story entertaining than internal consistency- but that's the required foundation to prevent collapse. Hopefully looking at it from the angle of gaming has managed to cast some light on why that holds true.
When a promising concept with sparkling characters goes soggy midway through the story, when readers leave in disgust, what exactly is happening? How can wildly fantastical movies with spaceships, dragons, and magic be considered perfectly plausible, only to be condemned as 'unrealistic' over the most mundane of details?
For the answer we're putting down Finnigan's Wake and picking up Super Metroid. Because there's something necessarily inherent to games that reveals the secret of a satisfying story.
There are plenty of things that might ruin a game- but violate this one sacred principle, and you can make the experience universally detested by players.
Games require rules.
Now, a quick aside: In various circles that's a hotly contested assertion. Some are quick to declare that 'game' means anything anyone wants, and definitions somehow suppress creative expression.
https://www.youtube.com/watch?v=blj91KLOvZQ
I'm not itching to get into philosophical battles here, but I personally find it helpful when words have meaning. Non-subjective definitions allow clear communication of ideas, something that I don't see as inherently oppressive.
So, for the purposes of this article, a game has rules.
Internally consistent laws that define what can and cannot happen.
...Fine, except for Calvinball.
But really- put this to the test. What is 'tag' without rules?
Tag- you're it! Or not?
You could call such a thing playing, to be sure- running around, engaging in activity, slapping at one another. But without rules there is no context to lend relevance to any actions.
The entire experience of a game is predicated on consistent rules. And when it's not, people get pissed.
It's not difficulty in a game that causes frustration. Gamers will accept an insanely hard game, will accept losing over and over again as long as the game is true to its own rules. Because if they lose, they attribute that setback to their own lack of skill. And they work to get better- because they can.
Contrast that to a game that capriciously kills players, without warning, at random. If introduced early, players might try to work around this obstacle- but if it truly is arbitrary, if skill and effort have no impact on their experience, that game will soon be dropped. For a simple reason:
That's a recipe for dissatisfaction.
Players will accept the context a game establishes, and struggle within it- but yank that context out from under them, and they will conclude they're being unfairly treated. And leave.
Only one thing in a game can be arbitrary- the initial rules. Within that framework, a player wants freedom. If the rules themselves shift for no reason and impede player agency, then suddenly skill, strategy, and effort- i.e. playing- is rendered pointless.
That's how to ruin a game- have it break its own rules. And guess what?
It's also exactly how to ruin a story.
But wait, I hear some saying.
A story and a game are different. After all, I was being a stickler about definitions above. Of course checkers needs rules. But a story? A story is about that most unpredictable of subjects, human nature. It charts quicksilver interactions between mercurial personalities and situations. Rules? BAH! Authors scoff at such things.
And surprise surprise, a lot of stories suck.
It's true stories and games are different. But there is overlap- and it pays to comprehend the core, common ingredient, the one thing fundamentally necessary to both stories and games:
Conflict.
An objective to accomplish, in the face of obstacles or competition- a problem to solve.
I once read that story structure is really nothing more than problem structure, and that rings true.
A narrative is the introduction of a problem, how that problem is dealt with, and the results of dealing with the problem.
But here's the thing about solving a problem- whether in a game, in a story, or even in mathematics: The reality around that problem has to stay consistent for the solution to be applicable.
Some authors may be tempted to frown on such a simple characterization of story- it is far deeper than just 'fix the problem.'
Fiction does hold marvelous potential for complexity to unfold- but that makes a stable simulation even more critical to maintain.
It's like having a computer performing a careful calculation, and then pouring water on the circuits. You wanted to process information and solve for an answer- but by interrupting the calculation, the answer is lost.
Look at chess.
The strategies that can emerge from chess approach baffling levels of complexity, pushing the human cognitive capacity near its limits.
But if you suddenly change the configuration of the chessboard mid-game, erase three rows and declare that checkmate is no longer the win state - well, that game just got ruined.
The mental investment on the part of the players, their tactical considerations, moves and countermoves, everything they poured into that game is capriciously nullified. Meaningless.
And having pointless events is a cardinal story sin.
Now if you're pretentious enough, you might think this makes great Art, with a capital 'A'. But for us mortals trying to get by with limited resources, we need all the information we can get. For us, art needs to help in that task. Effective art communicates. That's actually why it's entertaining- our brain rewards us with a shot of dopamine when it's learning something deemed valuable.
That's why human brains are optimized to consume story- it's a highly effective way of absorbing information without risk. A way of simulating problems and challenges without facing harmful real-life consequences.
Which, when you think about it, is strikingly similar to the purpose games can serve.
So understand- in your first Act, you are laying down the rules, establishing the reality of your story, setting the tone, displaying what is plausible, showing what the characters are like. Your story could be set on Mars, in a post-apocalyptic steampunk world, or in Nazi Germany where dinosaurs never went extinct.
The 'game board' for your story can be wildly unrealistic. The audience will understand that the game board is fantasy. But your story takes place on the surface of that game board- and for the events to remain coherent, that surface must hold together.
It's non-negotiable. The simulation must follow its own rules. Because if it doesn't, the audience will conclude that the story is arbitrary, the events meaningless, the characters contrived.
That's how you can tell when a story is breaking its own rules- when someone in the audience calls bullshit.
When they groan and say, "Come on, that wouldn't happen!" or "She would never say that!"
Perhaps the hero has just leapt gracefully over an exploding grenade without hitting a wisp of shrapnel. If it's the game board of 'Last Action Hero,' we accept it- because that's not what the simulation is 'about.' But if it's the gritty realistic world of Die-Hard, this would be a breach of contract for the viewer. On that game board, grenades kill- and if they suddenly don't, the game is broken.
The rules aren't just about physical action.
Perhaps in a romantic comedy, the female lead decides to inexplicably drop her objections and marry the protagonist- for no other reason than it says so in the script. If her choice runs contrary to what the story has established regarding her personality, then the audience will be left with that same vague feeling of betrayal.
In either case, the writers have cheated. They couldn't figure out how to get the answer they wanted within the parameters of their simulation- so they warped reality to make things work out a certain way.
When a reader notices this, it drains satisfaction like air from a tire. Because they are no longer being shown how a problem could 'really' be solved. The truth is gone.
This becomes even more important when a story grapples with deep thematic issues. What principles work in life? Which morals are applicable, which are facile ideology? What should we value, and why?
A story sets those principles into action, and shows us what would 'actually' happen.
That is why stories must tell the truth. And they do it in precisely the same way a game establishes an enjoyable experience-
By logically simulating conflict within a framework where actions matter.
Are predictable stories boring?
Often, yes.
But I don't directly equate internal consistency with predictability.
Chess has predictable rules- but you can still launch a surprise attack on your opponent.
And if the problem being explored in a story is interesting enough there should be room for twists and surprises. In fact, twists require a coherent foundation to be effectual. If everything is arbitrary and makes no sense, there are no twists- just more stuff happening.
Hopefully all of the above also sheds light on climaxes, conclusions, and how to handle them.
At the end of a story, readers want to see how a problem can finally be solved- given what they know about the situation.
This is why the deus ex machina is such a depressing cop-out.
We want the protagonist to take what they've learned in the story- their experiences, their allies, their enemies, their principles- and apply them to effect a resolution to the problem. If some random element is suddenly plonked onto the game-board that we've never seen before, something that just happens to magically solve the problem at hand-
Well then, the entire preceding simulation regarding that problem becomes rather irrelevant, doesn't it?
...I'm lookin' at you, Elder Wand.
There's a lot more to keeping a story entertaining than internal consistency- but that's the required foundation to prevent collapse. Hopefully looking at it from the angle of gaming has managed to cast some light on why that holds true.
Subscribe to:
Posts (Atom)