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Spelling/grammar fix(es)
Changed line(s) 16,17 (click to see context) from:
There are two major factors that decide how much the audience is willing to suspend their disbelief. One is the very premise of the work that lets the audience know on general what to expect. The other is the introduction that sets the tone for the work and establishes the rules on how the world works. In more grounded works, the audience's suspension of disbelief can break much more easily. In the other end, if the work establishes itself to be very wacky and surrealist, then the audience may not even question the unfolding events and even the character's motives.
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There are two major factors that decide how much the audience is willing to suspend their disbelief. One is the very premise of the work that lets the audience know on general what to expect.expect from the work. The other is the introduction that sets the tone for the work and establishes the rules on how the world works. In more grounded works, the audience's suspension of disbelief can break much more easily. In the other end, if the work establishes itself to be very wacky and surrealist, then the audience may not even question the unfolding events and even the character's motives.
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tone
Changed line(s) 16,17 (click to see context) from:
There are two major factors that decide how much the audience is willing to suspend their disbelief. One is the very premise of the work. The other is the introduction that sets the tone for the work. In more grounded works, the audience's suspension of disbelief can break much more easily. In the other end, if the work establishes itself to be very wacky and surrealist, then the audience may not even question the unfolding events and even the character's motives.
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There are two major factors that decide how much the audience is willing to suspend their disbelief. One is the very premise of the work. work that lets the audience know on general what to expect. The other is the introduction that sets the tone for the work.work and establishes the rules on how the world works. In more grounded works, the audience's suspension of disbelief can break much more easily. In the other end, if the work establishes itself to be very wacky and surrealist, then the audience may not even question the unfolding events and even the character's motives.
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Changed line(s) 14,15 (click to see context) from:
To put the above in layman's terms: '''all''' stories are contrived by their very nature ([[TheoryOfNarrativeCausality since the writer has to move characters from plot point A to plot points B, C, D and so on]]), but stories can only retain viewers' suspension of disbelief insofar as the contrivances '''feel justified in-universe'''. Stories break viewers' suspension of disbelief when the contrivances start to '''feel ''forced'' onto the story ''by the writer''.'''
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To put the above in layman's terms: '''all''' stories are contrived by their very nature ([[TheoryOfNarrativeCausality since the writer has to move characters from plot point A to plot points B, C, D D, and so on]]), but stories can only retain viewers' suspension of disbelief insofar as the contrivances '''feel justified in-universe'''. Stories break viewers' suspension of disbelief when the contrivances start to '''feel ''forced'' onto the story ''by the writer''.'''
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the punchline works better this way
Changed line(s) 37 (click to see context) from:
** The Artistic License is internally inconsistent (e.g. it's established cops in said CopShow, despite it being over the top action, can't dual-wield rocket launchers as they are human beings of ordinary strength... and then, suddenly, everyone ''is'' dual-wielding rocket launchers and the cops are on the level of [[ASpaceMarineIsYou space marines]].)
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** The Artistic License is internally inconsistent (e.g. it's established cops in said CopShow, despite it being over the top action, can't dual-wield rocket launchers as they are still human beings of ordinary strength... and then, suddenly, everyone ''is'' is dual-wielding rocket launchers and the cops are on the level of [[ASpaceMarineIsYou space marines]].)
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Changed line(s) 16,17 (click to see context) from:
There are two major factors that decide how much the audience is willing to suspend the disbelief. One is the very premise of the work. The other is the introduction that sets the tone for the work. In more grounded works, the audience's suspension of disbelief can break much more easily. In the other end, if the work establishes itself to be very wacky and surrealist, then the audience may not even question the unfolding events and even the character's motives.
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There are two major factors that decide how much the audience is willing to suspend the their disbelief. One is the very premise of the work. The other is the introduction that sets the tone for the work. In more grounded works, the audience's suspension of disbelief can break much more easily. In the other end, if the work establishes itself to be very wacky and surrealist, then the audience may not even question the unfolding events and even the character's motives.
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Added DiffLines:
There are two major factors that decide how much the audience is willing to suspend the disbelief. One is the very premise of the work. The other is the introduction that sets the tone for the work. In more grounded works, the audience's suspension of disbelief can break much more easily. In the other end, if the work establishes itself to be very wacky and surrealist, then the audience may not even question the unfolding events and even the character's motives.
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Changed line(s) 6,7 (click to see context) from:
-->-- '''Dean Learner''', ''Series/GarthMarenghi's Darkplace''
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-->-- '''Dean Learner''', ''Series/GarthMarenghi's Darkplace''
''Series/GarthMarenghisDarkplace''
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Changed line(s) 6,7 (click to see context) from:
-->-- '''Dean Learner''', ''Series/Garth Marenghi's Darkplace''
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-->-- '''Dean Learner''', ''Series/Garth Marenghi's ''Series/GarthMarenghi's Darkplace''
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Changed line(s) 6,7 (click to see context) from:
-->-- '''Dean Learner''', ''Series/GarthMarenghi'sDarkplace''
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-->-- '''Dean Learner''', ''Series/GarthMarenghi'sDarkplace''
''Series/Garth Marenghi's Darkplace''
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Changed line(s) 6,7 (click to see context) from:
-->-- '''Dean Learner''', ''Series/GarthMarenghisDarkplace''
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-->-- '''Dean Learner''', ''Series/GarthMarenghisDarkplace''
''Series/GarthMarenghi'sDarkplace''
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Added DiffLines:
* ArbitrarySkepticism: Just because a piece of fiction has an unrealistic or outlandish premise doesn't mean that the viewer has to accept ''everything'' (inlcuding a complete lack of internal consistency or an IdiotPlot) in it.
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Removed linking to a page from the same page
Changed line(s) 26,27 (click to see context) from:
When a true story is so bizarre and[=/=]or over-the-top that only its veracity enables WillingSuspensionOfDisbelief, that's RealityIsUnrealistic.
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When a true story is so bizarre and[=/=]or over-the-top that only its veracity enables WillingSuspensionOfDisbelief, this, that's RealityIsUnrealistic.
