History Main / Conflict

+ {{Heroes}}

No examples, please; this merely [[Administrivia/DefinitionOnlyPages defines the term]]. Due to the breadth of this trope, any work examples should be listed in the tropes under the sub indexes. %%https://tvtropes.org/pmwiki/posts.php?discussion=1644184945085449000&page=2#comment-28

Due to the breadth of this trope, any work examples should be listed in the tropes under the sub indexes.

# '''Male and Female:''' [-Quibbler-Couch was [[AnOfferYouCantRefuse persuaded]] to replace the "[[MarsAndVenusGenderContrast versus]]".-]

# '''Man vs. the Unknown''' has also been proposed as the type that codifies [[Horror]], where the enemy is the incomprehensible, otherworldly or extraterrestrial.

# '''Man vs. Man:''' The problem is [[TheAntagonist another character]] (Bob needs to defeat Alice to become Class President).

# '''Man vs. Nature:''' The problem comes from [[NatureIsNotNice natural sources]] (Bob's town is destroyed by a volcano, or Alice is sick).

It could be said that self-insert stories are weak because there is no conflict in how the self-insert achieves things, or that the conflict is so weak and ineffectual that it still comes across that way (as with poorly-written stories starring an InvincibleHero). Conversely, some works come off as weak [[TooBleakStoppedCaring because the conflict is too grave and appears to have no palatable solution]]. Like many other things, it's wise to strike a balance between the two.

It could be said that self-insert stories are weak because there is no conflict in how the Sue achieves things, or that the conflict is so weak and ineffectual that it still comes across that way (as with poorly-written stories starring an InvincibleHero. Conversely, some works come off as weak [[TooBleakStoppedCaring because the conflict is too grave and appears to have no palatable solution]]. Like many other things, it's wise to strike a balance between the two.

It could be said that MarySue stories are weak because there is no conflict in how the Sue achieves things, or that the conflict is so weak and ineffectual that it still comes across that way (as with poorly-written stories starring an InvincibleHero. Conversely, some works come off as weak [[TooBleakStoppedCaring because the conflict is too grave and appears to have no palatable solution]]. Like many other things, it's wise to strike a balance between the two.

It could be said that MarySue stories are weak because there is no conflict in how the Sue achieves things, or that the conflict is so weak and ineffectual that it still comes across that way (as with poorly-written stories starring an InvincibleHero. Conversely, some works come off as weak [[DarknessInducedAudienceApathy because the conflict is too grave and appears to have no palatable solution]]. Like many other things, it's wise to strike a balance between the two.

However, it is possible to have stories that ''actually'' don't have a conflict (for example, the Snow White story in this page's top quote); such works tend to be non-fiction or experimental/postmodernist stories. Some episodes of SliceOfLife series can also qualify, especially those following the {{Kishotenketsu}} formula. Works [[NoPlotNoProblem without stories]] can also be considered as lacking a conflict (video games may even have a conflict but no story, letting the players create their own stories through the conflict). Such works are ultimately exceptions and not the rule, and in general, if it's a conventional and engaging story, conflict drives it.

However, it is possible to have stories that ''actually'' don't have a conflict (for example, the Snow White story in this page's top quote); such works tend to be non-fiction or experimental/postmodernist stories. Some episodes of SliceOfLife series can also qualify, especially those following the {{Kishotenketsu}} formula. Works [[NoPlotNoProblem without stories]] can also be considered as lacking a conflict (video games may even have a conflict but no story, letting the players create their own stories through the conflict). Such works are ultimately exceptions and not the rule, and in general, if it's a story or game, conflict drives it.

However, it is possible to have stories that ''actually'' don't have a conflict (for example, the Snow White story in this page's top quote); such works tend to be non-fiction or experimental/postmodernist stories. Some episodes of SliceOfLife series can also qualify, especially those following the {{Kishotenketsu}} formula. Works [[NoPlotNoProblem without stories]] can also be considered as lacking a conflict (some works, particularly video games, may even have a conflict but no story, letting the audience create their own stories through the conflict). Such works are ultimately exceptions and not the rule, and in general, if it's a story or game, conflict drives it.

However, it is possible to have stories that ''actually'' don't have a conflict (for example, the Snow White story in this page's top quote); such works tend to be non-fiction or experimental/postmodernist stories. Some episodes of SliceOfLife series can also qualify, especially those following the {{Kishotenketsu}} formula. Works [[NoPlotNoProblem without stories]] can also be considered as lacking a conflict (some works, particularly video games, may even have a conflict but no story). Such works are ultimately exceptions and not the rule, and in general, if it's a story or game, conflict drives it.

However, it is possible to have stories that ''actually'' don't have a conflict (for example, the Snow White story in this page's top quote); such works tend to be non-fiction or experimental/postmodernist stories. Some episodes of SliceOfLife series can also qualify, especially those following the {{Kishotenketsu}} formula. Works [[NoPlotNoProblem without stories]] can also be considered as lacking a conflict. Such works are ultimately exceptions and not the rule, and in general, if it's a story or game, conflict drives it.

However, it is possible to have stories that ''actually'' don't have a conflict; such works tend to be non-fiction, experimental/postmodernist stories, or sandbox video games. Some episodes of SliceOfLife series can also qualify, especially those following the {{Kishotenketsu}} formula. Such works are ultimately exceptions and not the rule, and in general, if it's a story or game, conflict drives it.

However, it is possible to have stories that ''actually'' don't have a conflict; such works tend to be non-fiction, experimental/postmodernist works, or sandbox video games. Some episodes of SliceOfLife series can also qualify, especially those following the {{Kishotenketsu}} formula. Such works are ultimately exceptions and not the rule, and in general, if it's a story or game, conflict drives it.

Now, it seems that some fiction doesn't have conflict, but even then it's presented as a challenge, which is the third type of conflict. See NoAntagonist. Of course, not every work in media needs conflict, but those tend to be non-fiction, or some episodes of SliceOfLife series can also qualify, especially those following the {{Kishotenketsu}} formula. If it's a story or game, conflict drives it.

It could be said that MarySue stories are weak because there is no conflict in how the Sue achieves things, or that the conflict is so weak and ineffectual that it still comes across that way (as with {{Boring Invincible Hero}}es). Conversely, some works come off as weak [[DarknessInducedAudienceApathy because the conflict is too grave and appears to have no palatable solution]]. Like many other things, it's wise to strike a balance between the two.

Now, it seems that some fiction doesn't have conflict, but even then it's presented as a challenge, which is the third type of conflict. See NoAntagonist. Of course, not every work in media needs conflict, but those tend to be non-fiction, or some episodes of SliceOfLife series can also qualify. If it's a story or game, conflict drives it.

More than any other trope, save for the {{Characters}} who are in a conflict, this is vital to fiction. You can likely find loads of theories and [[BooksOnTrope essays]] on why this is so, but here just trust us. You need it.

# '''Man vs. Man''', the problem is another character (Bob needs to defeat Alice to become Class President).
# '''Man vs. Self''', the problem lies inside the protagonist (Bob doesn't know how to express his emotions to Alice).
# '''Man vs. Nature''', the problem comes from natural sources (Bob's town is destroyed by a volcano, or Alice is sick).
# '''Man vs. Society''', the problem is the social environment (Bob struggles to maintain his dignity in an ignorant community after receiving an AbominationAccusationAttack).
# '''Man vs. God/Fate''', the problem is destiny, eventuality, fate, or divine will (Bob does not want to fulfill a prophecy that he will lose his family).
# '''Man caught in the Middle''', of other characters/conflicts.
# '''Male and Female''', [-Quibbler-Couch was [[AnOfferYouCantRefuse persuaded]] to remove the [[MarsAndVenusGenderContrast "versus"]].-]
# Going beyond Quiller-Couch's list, there is also '''Man vs. Machine,''' as in machinery. Most commonly told from the perspective of a worker being replaced by a machine.

Traditionalists boil it down to the first [[RuleOfThree three]], redefining "Man" as a defeatable entity and "Nature" as anything that has to be survived or changed rather than defeated. According to the three basic conflicts, ZombieApocalypse would thus be Man Vs. Nature.

Now, it seems that some fiction doesn't have conflict, but even then it's presented as a challenge, which is the third type of conflict. See NoAntagonist. Of course not every work in media needs conflict, but those tend to be non-fiction, or some episodes of SliceOfLife series can also qualify. If it's a story or game, conflict drives it.

----

# '''Man vs. Society''', the problem is the social environment (Alice struggles to maintain her dignity in a sexist community).

It could be said that MarySue stories are weak because there is no conflict in how the Sue achieves things, or that the conflict is so weak and ineffectual that it still comes across that way (as with {{Anti Sue}}s and {{Boring Invincible Hero}}es). Conversely, some works come off as weak [[DarknessInducedAudienceApathy because the conflict is too grave and appears to have no palatable solution]]. Like many other things, it's wise to strike a balance between the two.

Conflict can come in many forms. According to Arthur Quiller-Couch, there are seven kinds of conflict, creating seven basic plots (Not to be confused with ''TheSevenBasicPlots'' by Christopher Booker, which articulates a theory closer to that of TheHerosJourney).

A SuperTrope to ChandlersLaw, FinaglesLaw, RisingConflict (for how conflict plays out in ThreeActStructure).

!!Due to its [[OmnipresentTropes universality]], this is a huge SuperTrope. Any examples are best listed in these {{Sub Trope}}s (or notable instances of conflict on individual work pages).

# '''Male and Female''' [-Quibbler-Couch was [[AnOfferYouCantRefuse persuaded]] to remove the [[MarsAndVenusGenderContrast "versus"]].-]

# '''Man vs. Man,''', the problem is another character (Bob needs to defeat Alice to become Class President).
# '''Man vs. Self.''', the problem lies inside the protagonist (Bob doesn't know how to express his emotions to Alice).

# '''Man vs. Society.''', the problem is the social environment (Alice struggles to maintain her dignity in a sexist community).

# '''Man caught in the Middle,''' of other characters/conflicts.
# '''Male and Female.''' [-Quibbler-Couch was [[AnOfferYouCantRefuse persuaded]] to remove the [[MarsAndVenusGenderContrast "versus"]].-]

It could be said that MarySue stories are weak because there is no conflict in how the Sue achieves things, or that the conflict is so weak and ineffectual that it still comes across that way (as with {{Anti Sue}}s and {{Boring Invincible Hero}}es). Conversely, some works come off as weak [[DarknessInducedAudienceApathy because the conflict is too grave and appears to have no palatable solution.]] Like many other things, it's wise to strike a balance between the two.

It could be said that MarySue stories are weak because there is no conflict in how the Sue achieves things, or that the conflict is so weak and ineffectual that it still comes across that way (as with {{Anti Sue}}s and {{Boring Invincible Hero}}es). Conversely, some works come off as weak [[DarknessInducedAudienceApathy because the conflict is too grave.]] Like many other things, it's wise to strike a balance between the two.