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* Huh, somehow I haven't left anything here. Well, consider this an IOU for awesome Solstace style vandalism at some point, though you'll probably have to remind me >.< Well, whatever. You're one of the coolest peeps on the IRC! - {{@/Solstace}}
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Deleted line(s) 86,118 (click to see context) :
[[folder:Laws of Storytelling for the Pretentious]]
This was inspired by a friend and me talking about the guidelines we needed to follow for a creative project. As we went deeper and deeper, we realized these applied to any and every endeavor we take. As tropers are creators first and foremost, this is pretty interesting to discuss.
Now a couple of things. First, this is subjective, there's no perfect story, nor perfect way to tell the story. These laws are nothing more than guidelines to anyone who isn't called Juan Carlos. If you want to follow them, good. If you don't, it doesn't mean your story would be automatically bad.
1. Treat the audience smartly.
In another words, ViewersAreGeniuses if you treat them as geniuses. Never try to predict them, if you try you will fail. Never try to please everybody. Try to please yourself...I'm not going to make the obvious joke. No. Definitely I won't. Try to write a story that satisfies itself, then you, then the fandom.
2. Your story is sentient.
You must always, without a shadow of a doubt, know where it wants to go. If she wants to kill some characters, you must comply. Break a ship? Damn straight you must. Never, under any circumstances, question the story. Never ask what the audience wants (refer to the first point as to the why and wherefores on that) ask what the story wants.
3. Characters are human beings.
This means that they have complexities to them. There's no cartoonishly evil. Every villain thinks he's the hero of his own story. Everybody thinks they're doing what is right. Never forget that. It also applies to every cool archetype. {{Deadpan Snarker}}s are beloved all around, but remember to give them something more than snarking.
4. Don't let other works influence you.
OK, it's not that precise, but I cannot think of any other way to call it. Don't copy another work's treatment of X, if it doesn't fit the story. Just because another work is awesome, it doesn't mean that everything it did fits everything.
5. Take everything with a grain of salt.
All these laws are nothing more than guidelines. I call them laws because these are the ones I will always refer to. But they aren't a secret formula or recipe for the perfect story. This guideline applies to everything. Question what you're doing. Always. Ask yourself if that couple really fits. If that death made sense. Never go and tell yourself that everything's alright immediately. That's just asking for it.
6. Film addendum. Sound mixing: It may sound trivial, but sound ''is'' a deal breaker. If your movie/game sounds like a scratchy piece of crap where the dialogue is completely unheard and unintelligible and the explosions sound like the sound of nails against a chalkboard...well, how're you supposed to keep your audience?
[[/folder]]
This was inspired by a friend and me talking about the guidelines we needed to follow for a creative project. As we went deeper and deeper, we realized these applied to any and every endeavor we take. As tropers are creators first and foremost, this is pretty interesting to discuss.
Now a couple of things. First, this is subjective, there's no perfect story, nor perfect way to tell the story. These laws are nothing more than guidelines to anyone who isn't called Juan Carlos. If you want to follow them, good. If you don't, it doesn't mean your story would be automatically bad.
1. Treat the audience smartly.
In another words, ViewersAreGeniuses if you treat them as geniuses. Never try to predict them, if you try you will fail. Never try to please everybody. Try to please yourself...I'm not going to make the obvious joke. No. Definitely I won't. Try to write a story that satisfies itself, then you, then the fandom.
2. Your story is sentient.
You must always, without a shadow of a doubt, know where it wants to go. If she wants to kill some characters, you must comply. Break a ship? Damn straight you must. Never, under any circumstances, question the story. Never ask what the audience wants (refer to the first point as to the why and wherefores on that) ask what the story wants.
3. Characters are human beings.
This means that they have complexities to them. There's no cartoonishly evil. Every villain thinks he's the hero of his own story. Everybody thinks they're doing what is right. Never forget that. It also applies to every cool archetype. {{Deadpan Snarker}}s are beloved all around, but remember to give them something more than snarking.
4. Don't let other works influence you.
OK, it's not that precise, but I cannot think of any other way to call it. Don't copy another work's treatment of X, if it doesn't fit the story. Just because another work is awesome, it doesn't mean that everything it did fits everything.
5. Take everything with a grain of salt.
All these laws are nothing more than guidelines. I call them laws because these are the ones I will always refer to. But they aren't a secret formula or recipe for the perfect story. This guideline applies to everything. Question what you're doing. Always. Ask yourself if that couple really fits. If that death made sense. Never go and tell yourself that everything's alright immediately. That's just asking for it.
6. Film addendum. Sound mixing: It may sound trivial, but sound ''is'' a deal breaker. If your movie/game sounds like a scratchy piece of crap where the dialogue is completely unheard and unintelligible and the explosions sound like the sound of nails against a chalkboard...well, how're you supposed to keep your audience?
[[/folder]]
Is there an issue? Send a MessageReason:
None
Changed line(s) 87,88 (click to see context) from:
This was inspired by a friend and me talking about the guidelines we needed to follow for the above project. As we went deeper and deeper, we realized these applied to any and every endeavor we take. As tropers are creators first and foremost, this is pretty interesting to discuss.
to:
This was inspired by a friend and me talking about the guidelines we needed to follow for the above a creative project. As we went deeper and deeper, we realized these applied to any and every endeavor we take. As tropers are creators first and foremost, this is pretty interesting to discuss.
Is there an issue? Send a MessageReason:
None
Deleted line(s) 3,29 (click to see context) :
[[folder:Analysis on Fisher Price]]
Fisher Price: The destabilization of the American Dream, its ramifications on a post-war society, and the attempts of all but one to remedy its societal influences on the greater structures with which we surround ourselves.
Once, maybe twice, or perhaps even thrice in a lifetime, there is a single piece of art, a single work of fiction that not only radically changes our perception of reality, but changes our perception of that perception itself.
Fisher Price is one of those works.
Come, my dear friends, and let us sit down to enjoy the masterwork of postmodern anti-Dada neosurrealism that is Fisher Price.
The Complete Work
go eat shit fuckers
The Author
The author of this magnificent work remains a mystery, not only to the world at large, but quite possibly to even his closest relatives and peers. You see, as with any great author, IPN 4.252.99.182 wished to remain anonymous at first publication, in order to "test the waters" per se and make sure that this seminal work of fiction would not be scorned by the mass media or even the inner circle of art critics, that chosen group that we, the common leity, often look down upon, even sneer at, for their supposed like-minded, self-centered hypointellectualism. But are they not humans, just as we are? The famed Prime Minister of the United Kingdom, Winston Churchill, perhaps put it best:
A man does what he must - in spite of personal consequences, in spite of obstacles and dangers and pressures - and that is the basis of all human morality.
Indeed, Churchill. Indeed.
This tactic of concealing one's identity has ramifications both in the work itself and in the broader spectrum of wavelengths and neural impulses which we, the collective civilization of humanity, entitle "real life." It is not dissimilar to the choice made by Joanne Rowling, perhaps better known as J.K. Rowling, author of the critically and commercially acclaimed Harry Potter series of children's and young adults' novels. In that context, the madame wished to not turn away readers of the male gender who would otherwise be wary to consume a work of fiction penned by a female. It worked marvelously, and Joanne is perhaps recognized to a greater extent by her pen name than by her birth name. Could it be possible that 4.252.99.182 wished to conceal his/her gender in order to do the same thing? It is not implausibly unfathomable. After all, a surprisingly well-documented aftereffect of this tangled life we humans lead is the widespread idea that there are "no girls" on the Internet. On the other side of the coin, could this work be said to have a level of depth and complexity that the author wished to challenge the stereotypes of men as uncouth hedonists, but was to uncourageous to tempt it? That, too, is also a valid theory. Truly, whatever can be said of the author in veritate must be held up to the concepts of both proto-feminism and bigoted misogyny, on both the male and female ends of the sex spectrum.
However, taken within the context of the work, the anonymity of the author can be taken back in an entirely new way. It could even be said to take one aback.
GO
When one considers that "go" is a verb commanding one to perform the action of movement to either a specific or non-specific place in space or time, one can see that it is totally possible that his unidentification is a bold statement against the growing movement of our species to a point in time that encompasses all matter and knowledge, often referred to in common scientific parlance as the "Singularity." By saying "go" he is implying - nay, commanding that it would be most beneficial for the reader to escape the growing homogenization and radical commercialization and argumentative convenience of the modern world. A similar marketing tactic was employed by the Quaker Oats Company in their internationally lauded "go humans go" marketing campaign, which consisted of merely that, posted upon a billboard. Another thing the discussed work has in common with this marketing campaign is its brevity yet wit. After all, it was Shakespeare, the most eminent playwright of the early Victorian era, who used the character Polonius, right-hand man to King Claudius, in the famed play Hamlet, to remark the famous English proverb:
Brevity is the soul of wit.
Indeed, Shakespeare. Indeed.
"EAT"
Once again we stumble upon a command verb. Commands, historically and presently, in the common vernacular, refer to the use of planned battalion strikes when people or places are in states of war, usually delivered by a man of much prominence. Therefore, "eat", in this context, can be interpreted as a truly brilliant literary allusion to the infamous work of Salo or the 120 Days of Sodom, written by Marquis de Sade. In that book, people are forced to undergo various vulgar and humiliating treatments that conscribe either to the punishments that we unconsciously inflict upon one another in this cruel world, or the deranged, megalomanious (in the definition of "desiring to exert power over another") fetishes of the author himself. Or perhaps it is an allusion to the widely-publicized film adaptation of that book, of the same name. It is certainly a more direct allusion, especially considering the fact that in the motion picture, the ones performing the orders to "eat", often times various excrement, are military officers and government officials. Perhaps the entire work is a thinly-veiled parody of Salo? Well, as you can see, it borders more in the "deconstruction" edge of that precipice.
Also of note is the fact that Salo was banned from sale in the Southern Hemisphere country of Australia. Thus, the entire work could also be construed as a rebellious statement of the freedom of speech, and the lines one must draw when confronted with the conflicting but equally important virtues of protection of the citizens and protection of artistic expression.
"SHIT"
Now we arrive at the true meat of the work, no pun intended. At this point the reader dives headfirst into a tumultuous tale of scandal, corruption, bitterness, greed, and diaspora. Not a diaspora of the people, but rather, a diaspora of the mind. In daily life, we oftentimes make a pointed attempt not to use socially imprudent, unacceptable words such as "shit", "piss", "fuck", "cunt", "cocksucker", "motherfucker", and "tits." The placement of "shit" at the top of this "List of Dirty Words", if you will, implies a sort of pseudo-incestuous relationship between the moral degradation of outer society and the hasty mechanisms of various groups whose agendas consist of cleansing the world of impudence, vile filth, and wretched hives of scum and villainy, both in our minds and in our lives. The French term for such a person is ''pédé de moralit."
[[/folder]]
Fisher Price: The destabilization of the American Dream, its ramifications on a post-war society, and the attempts of all but one to remedy its societal influences on the greater structures with which we surround ourselves.
Once, maybe twice, or perhaps even thrice in a lifetime, there is a single piece of art, a single work of fiction that not only radically changes our perception of reality, but changes our perception of that perception itself.
Fisher Price is one of those works.
Come, my dear friends, and let us sit down to enjoy the masterwork of postmodern anti-Dada neosurrealism that is Fisher Price.
The Complete Work
go eat shit fuckers
The Author
The author of this magnificent work remains a mystery, not only to the world at large, but quite possibly to even his closest relatives and peers. You see, as with any great author, IPN 4.252.99.182 wished to remain anonymous at first publication, in order to "test the waters" per se and make sure that this seminal work of fiction would not be scorned by the mass media or even the inner circle of art critics, that chosen group that we, the common leity, often look down upon, even sneer at, for their supposed like-minded, self-centered hypointellectualism. But are they not humans, just as we are? The famed Prime Minister of the United Kingdom, Winston Churchill, perhaps put it best:
A man does what he must - in spite of personal consequences, in spite of obstacles and dangers and pressures - and that is the basis of all human morality.
Indeed, Churchill. Indeed.
This tactic of concealing one's identity has ramifications both in the work itself and in the broader spectrum of wavelengths and neural impulses which we, the collective civilization of humanity, entitle "real life." It is not dissimilar to the choice made by Joanne Rowling, perhaps better known as J.K. Rowling, author of the critically and commercially acclaimed Harry Potter series of children's and young adults' novels. In that context, the madame wished to not turn away readers of the male gender who would otherwise be wary to consume a work of fiction penned by a female. It worked marvelously, and Joanne is perhaps recognized to a greater extent by her pen name than by her birth name. Could it be possible that 4.252.99.182 wished to conceal his/her gender in order to do the same thing? It is not implausibly unfathomable. After all, a surprisingly well-documented aftereffect of this tangled life we humans lead is the widespread idea that there are "no girls" on the Internet. On the other side of the coin, could this work be said to have a level of depth and complexity that the author wished to challenge the stereotypes of men as uncouth hedonists, but was to uncourageous to tempt it? That, too, is also a valid theory. Truly, whatever can be said of the author in veritate must be held up to the concepts of both proto-feminism and bigoted misogyny, on both the male and female ends of the sex spectrum.
However, taken within the context of the work, the anonymity of the author can be taken back in an entirely new way. It could even be said to take one aback.
GO
When one considers that "go" is a verb commanding one to perform the action of movement to either a specific or non-specific place in space or time, one can see that it is totally possible that his unidentification is a bold statement against the growing movement of our species to a point in time that encompasses all matter and knowledge, often referred to in common scientific parlance as the "Singularity." By saying "go" he is implying - nay, commanding that it would be most beneficial for the reader to escape the growing homogenization and radical commercialization and argumentative convenience of the modern world. A similar marketing tactic was employed by the Quaker Oats Company in their internationally lauded "go humans go" marketing campaign, which consisted of merely that, posted upon a billboard. Another thing the discussed work has in common with this marketing campaign is its brevity yet wit. After all, it was Shakespeare, the most eminent playwright of the early Victorian era, who used the character Polonius, right-hand man to King Claudius, in the famed play Hamlet, to remark the famous English proverb:
Brevity is the soul of wit.
Indeed, Shakespeare. Indeed.
"EAT"
Once again we stumble upon a command verb. Commands, historically and presently, in the common vernacular, refer to the use of planned battalion strikes when people or places are in states of war, usually delivered by a man of much prominence. Therefore, "eat", in this context, can be interpreted as a truly brilliant literary allusion to the infamous work of Salo or the 120 Days of Sodom, written by Marquis de Sade. In that book, people are forced to undergo various vulgar and humiliating treatments that conscribe either to the punishments that we unconsciously inflict upon one another in this cruel world, or the deranged, megalomanious (in the definition of "desiring to exert power over another") fetishes of the author himself. Or perhaps it is an allusion to the widely-publicized film adaptation of that book, of the same name. It is certainly a more direct allusion, especially considering the fact that in the motion picture, the ones performing the orders to "eat", often times various excrement, are military officers and government officials. Perhaps the entire work is a thinly-veiled parody of Salo? Well, as you can see, it borders more in the "deconstruction" edge of that precipice.
Also of note is the fact that Salo was banned from sale in the Southern Hemisphere country of Australia. Thus, the entire work could also be construed as a rebellious statement of the freedom of speech, and the lines one must draw when confronted with the conflicting but equally important virtues of protection of the citizens and protection of artistic expression.
"SHIT"
Now we arrive at the true meat of the work, no pun intended. At this point the reader dives headfirst into a tumultuous tale of scandal, corruption, bitterness, greed, and diaspora. Not a diaspora of the people, but rather, a diaspora of the mind. In daily life, we oftentimes make a pointed attempt not to use socially imprudent, unacceptable words such as "shit", "piss", "fuck", "cunt", "cocksucker", "motherfucker", and "tits." The placement of "shit" at the top of this "List of Dirty Words", if you will, implies a sort of pseudo-incestuous relationship between the moral degradation of outer society and the hasty mechanisms of various groups whose agendas consist of cleansing the world of impudence, vile filth, and wretched hives of scum and villainy, both in our minds and in our lives. The French term for such a person is ''pédé de moralit."
[[/folder]]
Changed line(s) 112,151 (click to see context) from:
[[folder:Likes]]
* All of JossWhedon's work (he's a Die Hard browncoat)
* {{Batman}} (all the comic incarnations have a little redeeming trait)
* LifeOnMars (one of the greatest, most awesome and clever series of all time. and wishes to see AshesToAshes)
* KingdomHearts (wishes to play BirthBySleep someday)
* WarrenEllis work (the guy's a genius)
* {{Preacher}}, THE most badass comic ever.
* VeronicaMars
* TheWire
* HeavyRain
* All of Rockstar's games except {{Lemmings}} (and that was a previous Rockstar incarnation)
* MassEffect 1 (wishes to play 2)
* {{Uncharted}}
* Is in love with his PS3
* Has PSL for {{Inception}}. Not Cobb or Ariadne or Mal, but for the movie.
* YTheLastMan
* {{Portal}}
* [[NineteenEightyFour 1984]]
* JimiHendrix
* DavidBowie
* LedZeppelin
* The Doors
* GrantMorrison
* AlanMoore: Although mentioning you like AlanMoore is like mentioning you like air.
* TheBeatles
* BraveNewWorld
* ChristopherNolan
* FrancisFordCoppola
* StevenSpielberg
* MartinScorsese
* GeorgeLucas
* BretEastonEllis.
* JRRTolkien
* Fyodor Dostoyevsky.
* Gabriel Garcia Marquez
* Jorge Luis Borges
* Manuel Zapata Olivella
* Ernest Hemingway
* F. Scott Fitzgerald.
* All of JossWhedon's work (he's a Die Hard browncoat)
* {{Batman}} (all the comic incarnations have a little redeeming trait)
* LifeOnMars (one of the greatest, most awesome and clever series of all time. and wishes to see AshesToAshes)
* KingdomHearts (wishes to play BirthBySleep someday)
* WarrenEllis work (the guy's a genius)
* {{Preacher}}, THE most badass comic ever.
* VeronicaMars
* TheWire
* HeavyRain
* All of Rockstar's games except {{Lemmings}} (and that was a previous Rockstar incarnation)
* MassEffect 1 (wishes to play 2)
* {{Uncharted}}
* Is in love with his PS3
* Has PSL for {{Inception}}. Not Cobb or Ariadne or Mal, but for the movie.
* YTheLastMan
* {{Portal}}
* [[NineteenEightyFour 1984]]
* JimiHendrix
* DavidBowie
* LedZeppelin
* The Doors
* GrantMorrison
* AlanMoore: Although mentioning you like AlanMoore is like mentioning you like air.
* TheBeatles
* BraveNewWorld
* ChristopherNolan
* FrancisFordCoppola
* StevenSpielberg
* MartinScorsese
* GeorgeLucas
* BretEastonEllis.
* JRRTolkien
* Fyodor Dostoyevsky.
* Gabriel Garcia Marquez
* Jorge Luis Borges
* Manuel Zapata Olivella
* Ernest Hemingway
* F. Scott Fitzgerald.
to:
* All
[[folder:Laws of
* {{Batman}} (all the comic incarnations have a little redeeming trait)
* LifeOnMars (one of the greatest, most awesome and clever series of all time. and wishes to see AshesToAshes)
* KingdomHearts (wishes to play BirthBySleep someday)
* WarrenEllis work (the guy's a genius)
* {{Preacher}}, THE most badass comic ever.
* VeronicaMars
* TheWire
* HeavyRain
* All of Rockstar's games except {{Lemmings}} (and that was a previous Rockstar incarnation)
* MassEffect 1 (wishes to play 2)
* {{Uncharted}}
* Is in love with his PS3
* Has PSL for {{Inception}}. Not Cobb or Ariadne or Mal, but
* YTheLastMan
* {{Portal}}
* [[NineteenEightyFour 1984]]
* JimiHendrix
* DavidBowie
* LedZeppelin
* The Doors
* GrantMorrison
* AlanMoore: Although mentioning
This was inspired by a friend and me talking about the guidelines we needed to follow for the above project. As we went deeper and deeper, we realized these applied to any and every endeavor we take. As tropers are creators first and foremost, this is pretty interesting to discuss.
Now a couple of things. First, this is subjective, there's no perfect story, nor perfect way to tell the story. These laws are nothing more than guidelines to anyone who isn't called Juan Carlos. If you want to follow them, good. If you don't, it doesn't mean your story would be automatically bad.
1. Treat the audience smartly.
In another words, ViewersAreGeniuses if you treat them as geniuses. Never try to predict them, if you try you will fail. Never try to please everybody. Try to please yourself...I'm not going to make the obvious joke. No. Definitely I won't. Try to write a story that satisfies itself, then you, then the fandom.
2. Your story is sentient.
You must always, without a shadow of a doubt, know where it wants to go. If she wants to kill some characters, you must comply. Break a ship? Damn straight you must. Never, under any circumstances, question the story. Never ask what the audience wants (refer to the first point as to the why and wherefores on that) ask what the story wants.
3. Characters are human beings.
This means that they have complexities to them. There's no cartoonishly evil. Every villain thinks he's the hero of his own story. Everybody thinks they're doing what is right. Never forget that. It also applies to every cool archetype. {{Deadpan Snarker}}s are beloved all around, but remember to give them something more than snarking.
4. Don't let other works influence you.
OK, it's not that precise, but I cannot think of any other way to call it. Don't copy another work's treatment of X, if it doesn't fit the story. Just because another work is awesome, it doesn't mean that everything it did fits everything.
5. Take everything with a grain of salt.
All these laws are nothing more than guidelines. I call them laws because these are the ones I will always refer to. But they aren't a secret formula or recipe for the perfect story. This guideline applies to everything. Question what you're doing. Always. Ask yourself if that couple really fits. If that death made sense. Never go and tell yourself that everything's alright immediately. That's just asking for it.
6. Film addendum. Sound mixing: It may sound trivial, but sound ''is'' a deal breaker. If your movie/game sounds like
* TheBeatles
* BraveNewWorld
* ChristopherNolan
* FrancisFordCoppola
* StevenSpielberg
* MartinScorsese
* GeorgeLucas
* BretEastonEllis.
* JRRTolkien
* Fyodor Dostoyevsky.
* Gabriel Garcia Marquez
* Jorge Luis Borges
* Manuel Zapata Olivella
* Ernest Hemingway
* F. Scott Fitzgerald.
Changed line(s) 155,276 (click to see context) from:
[[folder:Tropes that apply to me (put whichever you think applies too)]]
* BackToBackBadasses: with @/SeanMurrayI. - @/{{Noaqiyeum}}
* [[BadassSpaniard Badass]] [[strike:[[BadassSpaniard Spaniard]]]] [[BadassSpaniard Colombian]] - Earl Of Sandvich
* BerserkButton: Several:
** It's [=ColOmbia=], there's no U. That means another place entirely!
** Aliens visited earth, and helped the old civilizations...I have no comment on the matter except a goddamn punch to your face.
** Just to make it clearer: The History Channel.
* TheCharmer: well, duh :P - @/StolenByFaeries
* CowboyCop: It's possible to see him as that, or at least have the approach in films. -@/EarlOfSandvich
* CrowningMomentofHeartwarming: [[http://tvtropes.org/pmwiki/posts.php?discussion=rhgmlvcrsma4soui9af8fdv0&page=951#23765 This.]]
* CulturedBadass: If you doubt it, I invite you to note some of the names on the above list. - @/{{Noaqiyeum}}
* CutHisHeartOutWithASpoon: "I will find you, Noa. Take it for a fact. I will find you and I will burn your books. And I will be there laughing. While I break your pencils." - @/{{Noaqiyeum}} (XD)
* DeadpanSnarker: Only with friends.
* {{Expy}}: Of ClintEastwood- @/MrW
* [[FanGirl FanBoy]]: Of Joss Whedon. Which is cool, because [[{{Tropers/burinnu}} so am I.]] 'Cept for the whole male part.
* HotBlooded - [[{{Tropers/betterthanstrawberry}} betterthanstrawberry]]
* [[strike:[[MemeticBadAss Memetic]]]] {{Badass}} - @/{{Balmung}}
* MemeticBadass - @/MrW
* GodEmperor: Of {{Memetic Badass}}es - @/{{Balmung}}
* GrammarNazi: If you write something wrong in Spanish, I will hunt down your whole family
* MemeticBadass- on the forums -fringe
* RevolversAreJustBetter - [[{{Tropers/wannabeotaku}} The Otaking]]
* TheRival: With @/{{Noaqiyeum}} the EldritchAbomination! You are [[DidYouJustPunchOutCthulhu "Most Likely To Punch Out Cthulhu"]], after all. -- [[@/{{StolenByFaeries}} a faerie]] [[BlueAndOrangeMorality of the Orange persuasion.]]
* MemeticBadass - Yes, I think you deserve [[strike:four]] three listings of this on your page. That's how awesome you are. --[[@/FuschlatzOReilly Fusch]]
* MemeticSexGod: You brought this upon yourself. Accept it. ~@/{{betterthanstrawberry}}
* MillionairePlayboy: You're future, man. @/{{Cutewithoutthe}}
* MistakenForBadass ([[@/{{sgrunt}} ha!]])
** Care to put your fists where your hands are, gruntilda?
* NiceGuy: we've seen you in the Cuddlepile - don't deny it. -- @/{{StolenByFaeries}}
** In the words of the great man who we call Tomu: "Being manly =/= being a dick" And may I add it just means ''having'' one.
* RatedMForManly
* [[RunningGag Memetic Badass]]... well... just RunningGag, but it deserves another mention! --@/EarlOfSandvich
* {{Seme}} the forum game makes it unanimous
* PrettyCoolGuy - Oh man who doesn't think this? -- @/{{BlaineTheM0n0}}
* {{Uke}} - due to your MemeticSexGod status -- @/{{1whowillmakeEnzeru}}
* TestosteronePoisoning --@/EarlOfSandvich
* TwoGuysAndAGirl - With [[{{Tropers/Leradny}} me]] and @/{{Kino}}. IN A STRICTLY PLATONIC SENSE, MIND
* WarriorPoet - Search your feelings, you know it to be true. - @/{{StolenByFaeries}}
** Punches are pretty / Your face is all breaky / I'm a bored now / Because you're dead now. Yeah, I'm this generation Walt Whitman.
* FourTemperamentEnsemble - Your a definite Sanguine, with bits of choleric.... - [[@/VoidsEmpathy Eternal Void]]
[[/folder]]
[[folder:Film Project]]
Laconic: {{Brick}}: The political thriller.
There's a drug dealing net around school. As the days are counted towards election day, it's clear one of the two candidates is connected to this net as either a dummie or a leader. During the day previous to the election, there are various crimes commited through the school. That's where our characters come in. They're all involved in some way or another in this crimes and we see them through their POVs
1: Establishing setting and premise.
2: The story is told through changing POV of the same day of the 4 characters, who all have an internal conflict regarding the scoop they're trying to get
3. The question is answered and we see the final fate of the characters and where they stand after this.
[[/folder]]
[[folder:Laws of Storytelling for the Pretentious]]
This was inspired by a friend and me talking about the guidelines we needed to follow for the above project. As we went deeper and deeper, we realized these applied to any and every endeavor we take. As tropers are creators first and foremost, this is pretty interesting to discuss.
Now a couple of things. First, this is subjective, there's no perfect story, nor perfect way to tell the story. These laws are nothing more than guidelines to anyone who isn't called Juan Carlos. If you want to follow them, good. If you don't, it doesn't mean your story would be automatically bad.
1. Treat the audience smartly.
In another words, ViewersAreGeniuses if you treat them as geniuses. Never try to predict them, if you try you will fail. Never try to please everybody. Try to please yourself...I'm not going to make the obvious joke. No. Definitely I won't. Try to write a story that satisfies itself, then you, then the fandom.
2. Your story is sentient.
You must always, without a shadow of a doubt, know where it wants to go. If she wants to kill some characters, you must comply. Break a ship? Damn straight you must. Never, under any circumstances, question the story. Never ask what the audience wants (refer to the first point as to the why and wherefores on that) ask what the story wants.
3. Characters are human beings.
This means that they have complexities to them. There's no cartoonishly evil. Every villain thinks he's the hero of his own story. Everybody thinks they're doing what is right. Never forget that. It also applies to every cool archetype. {{Deadpan Snarker}}s are beloved all around, but remember to give them something more than snarking.
4. Don't let other works influence you.
OK, it's not that precise, but I cannot think of any other way to call it. Don't copy another work's treatment of X, if it doesn't fit the story. Just because another work is awesome, it doesn't mean that everything it did fits everything.
5. Take everything with a grain of salt.
All these laws are nothing more than guidelines. I call them laws because these are the ones I will always refer to. But they aren't a secret formula or recipe for the perfect story. This guideline applies to everything. Question what you're doing. Always. Ask yourself if that couple really fits. If that death made sense. Never go and tell yourself that everything's alright immediately. That's just asking for it.
6. Film addendum. Sound mixing: It may sound trivial, but sound ''is'' a deal breaker. If your movie/game sounds like a scratchy piece of crap where the dialogue is completely unheard and unintelligible and the explosions sound like the sound of nails against a chalkboard...well, how're you supposed to keep your audience?
[[/folder]]
[[folder: About-to-be-published articles]]
After a work interview (with one of my heroes, Ernesto McCausland, no less) there might be a possibility that I get published in a newspaper (El Heraldo) The reason they called into such a meeting was this article (warning: Spanish):
Este año ha sido (por lo menos en respecto a Colombia) un año falto de películas buenas. De esas películas que de verdad te hacen pensar. Inception (El Origen) es la excepción a esta regla. Y personalmente, es la mejor película del año.
Pero primero hablemos de Christopher Nolan. Hasta ahora el director más laureado y respetado de esta década, Nolan ha dirigido algunos de los proyectos más respetados de esta década. Ya sea un thriller sobre la amnesia y la obsesión (Memento) o el análisis psicológico de una de las figuras más importantes de la cultura popular (Batman Comienza) Nolan siempre ha encontrado la manera de sorprender e innovar.
Ahora bien esto es meramente una opinión. Lo que yo diga aquí no es un hecho valido e intocable. Pero El Origen representa la manera de hacer cine que tanto falta en estos tiempos, con ciertas excepciones. La idea del Auteur (la teoría de que la película es ante todo una creación del director) ha sido últimamente, si no olvidada, por lo menos despreciada. A los estudios no les interesa en lo más mínimo si una película es inteligente o bien hecha. Les interesa que sea vendible.
Aclaremos algo. Esto no es algo malo, es simple lógica. Los estudios necesitan ganar plata para financiar más películas y los llamados proyectos “artísticos” que salen en diciembre con el propósito claro de llamar la atención de la academia. El problema es que muchas veces los proyectos “vendibles”, debido a la demanda, son normalmente proyectos carentes en aspectos narrativos. Hay ciertas excepciones y hoy vamos a hablar de una de ellas.
Inception mezcla esas dos mentalidades, la mentalidad de apelar al público y al director. Es una historia que nunca salta donde querría el publico que saltara, pero salta donde ella misma quiere saltar. Pero en cambio nunca insulta a la audiencia ni desconsidera su opinión. Esta es la mentalidad que Nolan ha traído al cine desde el momento en que empezó a dirigir. La idea de que la audiencia es inteligente. No son unos idiotas a los que tienes que alimentar con la mano. Pero que son personas a los que les tienes que cocinar, y después ver si lo disfrutan o no.
Inception, marca un hito para Nolan y su equipo. No solo es un éxito artístico, sino también un éxito económico. La pregunta es: ¿Qué hará Hollywood con respecto a esto? Después de todo, esta no es la primera vez que un éxito de una película ha sido directamente proporcional a su inteligencia. El caballero de la noche nos lo comprobó hace dos años. Pero ¿ha habido algún cambio? Pues los Oscares decidieron aumentar el número de nominados para poder incluir más películas en la carrera, películas como el Caballero de la Noche que nunca ganarían un Oscar debido a que la Academia los vera siempre como películas de baja calidad artística.
El problema siempre va a ser lo que yo llamo “Gueto Artístico”. Los guetos son la idea (obviamente errónea) de que un medio o un género no merecen respeto por ser parte de ese medio. Los oscares nunca reconocen los valores de una película de comedia (uno de los conceptos más complicados de ejecutar en cualquier medio) o Ciencia Ficción (no te podría decir porqué; la verdad) o de la Animación (A pesar de que el cine empezó como animación) Los estudios saben esto y compensan. Hacen una película que va a vender en Junio una película para los oscares en diciembre.
La pregunta es esta ¿Que tal si se esforzaran con los proyectos del verano? Después de todo, no es necesariamente cierto que una película de acción no pueda desarrollar sus personajes ni crear una historia que vaya mas allá de disparos y explosiones (Duro de Matar) y ciertamente El Origen no es precisamente original en ese departamento.
El problema es claro, lectores. Es que nos estábamos dejando estafar. Le dábamos la plata a Hollywood por las películas más débiles que pueda tener y nos vamos cuando planean ir en serio (¿Cuantos de nosotros se fueron a ver la red social?) Pero El Origen comprueba que si se puede mezclar la acción de las películas de mitad de año con la inteligencia y la calidad de las películas de final de año. Espero con toda honestidad que sigamos haciendo caso al llamado de Nolan y así Hollywood escuche. Y así podremos volver a tener películas geniales todo el año en vez de diciembre y enero.
[[/folder]]
!!Vandalism!
* BackToBackBadasses: with @/SeanMurrayI. - @/{{Noaqiyeum}}
* [[BadassSpaniard Badass]] [[strike:[[BadassSpaniard Spaniard]]]] [[BadassSpaniard Colombian]] - Earl Of Sandvich
* BerserkButton: Several:
** It's [=ColOmbia=], there's no U. That means another place entirely!
** Aliens visited earth, and helped the old civilizations...I have no comment on the matter except a goddamn punch to your face.
** Just to make it clearer: The History Channel.
* TheCharmer: well, duh :P - @/StolenByFaeries
* CowboyCop: It's possible to see him as that, or at least have the approach in films. -@/EarlOfSandvich
* CrowningMomentofHeartwarming: [[http://tvtropes.org/pmwiki/posts.php?discussion=rhgmlvcrsma4soui9af8fdv0&page=951#23765 This.]]
* CulturedBadass: If you doubt it, I invite you to note some of the names on the above list. - @/{{Noaqiyeum}}
* CutHisHeartOutWithASpoon: "I will find you, Noa. Take it for a fact. I will find you and I will burn your books. And I will be there laughing. While I break your pencils." - @/{{Noaqiyeum}} (XD)
* DeadpanSnarker: Only with friends.
* {{Expy}}: Of ClintEastwood- @/MrW
* [[FanGirl FanBoy]]: Of Joss Whedon. Which is cool, because [[{{Tropers/burinnu}} so am I.]] 'Cept for the whole male part.
* HotBlooded - [[{{Tropers/betterthanstrawberry}} betterthanstrawberry]]
* [[strike:[[MemeticBadAss Memetic]]]] {{Badass}} - @/{{Balmung}}
* MemeticBadass - @/MrW
* GodEmperor: Of {{Memetic Badass}}es - @/{{Balmung}}
* GrammarNazi: If you write something wrong in Spanish, I will hunt down your whole family
* MemeticBadass- on the forums -fringe
* RevolversAreJustBetter - [[{{Tropers/wannabeotaku}} The Otaking]]
* TheRival: With @/{{Noaqiyeum}} the EldritchAbomination! You are [[DidYouJustPunchOutCthulhu "Most Likely To Punch Out Cthulhu"]], after all. -- [[@/{{StolenByFaeries}} a faerie]] [[BlueAndOrangeMorality of the Orange persuasion.]]
* MemeticBadass - Yes, I think you deserve [[strike:four]] three listings of this on your page. That's how awesome you are. --[[@/FuschlatzOReilly Fusch]]
* MemeticSexGod: You brought this upon yourself. Accept it. ~@/{{betterthanstrawberry}}
* MillionairePlayboy: You're future, man. @/{{Cutewithoutthe}}
* MistakenForBadass ([[@/{{sgrunt}} ha!]])
** Care to put your fists where your hands are, gruntilda?
* NiceGuy: we've seen you in the Cuddlepile - don't deny it. -- @/{{StolenByFaeries}}
** In the words of the great man who we call Tomu: "Being manly =/= being a dick" And may I add it just means ''having'' one.
* RatedMForManly
* [[RunningGag Memetic Badass]]... well... just RunningGag, but it deserves another mention! --@/EarlOfSandvich
* {{Seme}} the forum game makes it unanimous
* PrettyCoolGuy - Oh man who doesn't think this? -- @/{{BlaineTheM0n0}}
* {{Uke}} - due to your MemeticSexGod status -- @/{{1whowillmakeEnzeru}}
* TestosteronePoisoning --@/EarlOfSandvich
* TwoGuysAndAGirl - With [[{{Tropers/Leradny}} me]] and @/{{Kino}}. IN A STRICTLY PLATONIC SENSE, MIND
* WarriorPoet - Search your feelings, you know it to be true. - @/{{StolenByFaeries}}
** Punches are pretty / Your face is all breaky / I'm a bored now / Because you're dead now. Yeah, I'm this generation Walt Whitman.
* FourTemperamentEnsemble - Your a definite Sanguine, with bits of choleric.... - [[@/VoidsEmpathy Eternal Void]]
[[/folder]]
[[folder:Film Project]]
Laconic: {{Brick}}: The political thriller.
There's a drug dealing net around school. As the days are counted towards election day, it's clear one of the two candidates is connected to this net as either a dummie or a leader. During the day previous to the election, there are various crimes commited through the school. That's where our characters come in. They're all involved in some way or another in this crimes and we see them through their POVs
1: Establishing setting and premise.
2: The story is told through changing POV of the same day of the 4 characters, who all have an internal conflict regarding the scoop they're trying to get
3. The question is answered and we see the final fate of the characters and where they stand after this.
[[/folder]]
[[folder:Laws of Storytelling for the Pretentious]]
This was inspired by a friend and me talking about the guidelines we needed to follow for the above project. As we went deeper and deeper, we realized these applied to any and every endeavor we take. As tropers are creators first and foremost, this is pretty interesting to discuss.
Now a couple of things. First, this is subjective, there's no perfect story, nor perfect way to tell the story. These laws are nothing more than guidelines to anyone who isn't called Juan Carlos. If you want to follow them, good. If you don't, it doesn't mean your story would be automatically bad.
1. Treat the audience smartly.
In another words, ViewersAreGeniuses if you treat them as geniuses. Never try to predict them, if you try you will fail. Never try to please everybody. Try to please yourself...I'm not going to make the obvious joke. No. Definitely I won't. Try to write a story that satisfies itself, then you, then the fandom.
2. Your story is sentient.
You must always, without a shadow of a doubt, know where it wants to go. If she wants to kill some characters, you must comply. Break a ship? Damn straight you must. Never, under any circumstances, question the story. Never ask what the audience wants (refer to the first point as to the why and wherefores on that) ask what the story wants.
3. Characters are human beings.
This means that they have complexities to them. There's no cartoonishly evil. Every villain thinks he's the hero of his own story. Everybody thinks they're doing what is right. Never forget that. It also applies to every cool archetype. {{Deadpan Snarker}}s are beloved all around, but remember to give them something more than snarking.
4. Don't let other works influence you.
OK, it's not that precise, but I cannot think of any other way to call it. Don't copy another work's treatment of X, if it doesn't fit the story. Just because another work is awesome, it doesn't mean that everything it did fits everything.
5. Take everything with a grain of salt.
All these laws are nothing more than guidelines. I call them laws because these are the ones I will always refer to. But they aren't a secret formula or recipe for the perfect story. This guideline applies to everything. Question what you're doing. Always. Ask yourself if that couple really fits. If that death made sense. Never go and tell yourself that everything's alright immediately. That's just asking for it.
6. Film addendum. Sound mixing: It may sound trivial, but sound ''is'' a deal breaker. If your movie/game sounds like a scratchy piece of crap where the dialogue is completely unheard and unintelligible and the explosions sound like the sound of nails against a chalkboard...well, how're you supposed to keep your audience?
[[/folder]]
[[folder: About-to-be-published articles]]
After a work interview (with one of my heroes, Ernesto McCausland, no less) there might be a possibility that I get published in a newspaper (El Heraldo) The reason they called into such a meeting was this article (warning: Spanish):
Este año ha sido (por lo menos en respecto a Colombia) un año falto de películas buenas. De esas películas que de verdad te hacen pensar. Inception (El Origen) es la excepción a esta regla. Y personalmente, es la mejor película del año.
Pero primero hablemos de Christopher Nolan. Hasta ahora el director más laureado y respetado de esta década, Nolan ha dirigido algunos de los proyectos más respetados de esta década. Ya sea un thriller sobre la amnesia y la obsesión (Memento) o el análisis psicológico de una de las figuras más importantes de la cultura popular (Batman Comienza) Nolan siempre ha encontrado la manera de sorprender e innovar.
Ahora bien esto es meramente una opinión. Lo que yo diga aquí no es un hecho valido e intocable. Pero El Origen representa la manera de hacer cine que tanto falta en estos tiempos, con ciertas excepciones. La idea del Auteur (la teoría de que la película es ante todo una creación del director) ha sido últimamente, si no olvidada, por lo menos despreciada. A los estudios no les interesa en lo más mínimo si una película es inteligente o bien hecha. Les interesa que sea vendible.
Aclaremos algo. Esto no es algo malo, es simple lógica. Los estudios necesitan ganar plata para financiar más películas y los llamados proyectos “artísticos” que salen en diciembre con el propósito claro de llamar la atención de la academia. El problema es que muchas veces los proyectos “vendibles”, debido a la demanda, son normalmente proyectos carentes en aspectos narrativos. Hay ciertas excepciones y hoy vamos a hablar de una de ellas.
Inception mezcla esas dos mentalidades, la mentalidad de apelar al público y al director. Es una historia que nunca salta donde querría el publico que saltara, pero salta donde ella misma quiere saltar. Pero en cambio nunca insulta a la audiencia ni desconsidera su opinión. Esta es la mentalidad que Nolan ha traído al cine desde el momento en que empezó a dirigir. La idea de que la audiencia es inteligente. No son unos idiotas a los que tienes que alimentar con la mano. Pero que son personas a los que les tienes que cocinar, y después ver si lo disfrutan o no.
Inception, marca un hito para Nolan y su equipo. No solo es un éxito artístico, sino también un éxito económico. La pregunta es: ¿Qué hará Hollywood con respecto a esto? Después de todo, esta no es la primera vez que un éxito de una película ha sido directamente proporcional a su inteligencia. El caballero de la noche nos lo comprobó hace dos años. Pero ¿ha habido algún cambio? Pues los Oscares decidieron aumentar el número de nominados para poder incluir más películas en la carrera, películas como el Caballero de la Noche que nunca ganarían un Oscar debido a que la Academia los vera siempre como películas de baja calidad artística.
El problema siempre va a ser lo que yo llamo “Gueto Artístico”. Los guetos son la idea (obviamente errónea) de que un medio o un género no merecen respeto por ser parte de ese medio. Los oscares nunca reconocen los valores de una película de comedia (uno de los conceptos más complicados de ejecutar en cualquier medio) o Ciencia Ficción (no te podría decir porqué; la verdad) o de la Animación (A pesar de que el cine empezó como animación) Los estudios saben esto y compensan. Hacen una película que va a vender en Junio una película para los oscares en diciembre.
La pregunta es esta ¿Que tal si se esforzaran con los proyectos del verano? Después de todo, no es necesariamente cierto que una película de acción no pueda desarrollar sus personajes ni crear una historia que vaya mas allá de disparos y explosiones (Duro de Matar) y ciertamente El Origen no es precisamente original en ese departamento.
El problema es claro, lectores. Es que nos estábamos dejando estafar. Le dábamos la plata a Hollywood por las películas más débiles que pueda tener y nos vamos cuando planean ir en serio (¿Cuantos de nosotros se fueron a ver la red social?) Pero El Origen comprueba que si se puede mezclar la acción de las películas de mitad de año con la inteligencia y la calidad de las películas de final de año. Espero con toda honestidad que sigamos haciendo caso al llamado de Nolan y así Hollywood escuche. Y así podremos volver a tener películas geniales todo el año en vez de diciembre y enero.
[[/folder]]
!!Vandalism!
to:
* BackToBackBadasses: with @/SeanMurrayI. - @/{{Noaqiyeum}}
* [[BadassSpaniard Badass]] [[strike:[[BadassSpaniard Spaniard]]]] [[BadassSpaniard Colombian]] - Earl Of Sandvich
* BerserkButton: Several:
** It's [=ColOmbia=], there's no U. That means another place entirely!
** Aliens visited earth, and helped the old civilizations...I have no comment on the matter except a goddamn punch to your face.
** Just to make it clearer: The History Channel.
* TheCharmer: well, duh :P - @/StolenByFaeries
* CowboyCop: It's possible to see him as that, or at least have the approach in films. -@/EarlOfSandvich
* CrowningMomentofHeartwarming: [[http://tvtropes.org/pmwiki/posts.php?discussion=rhgmlvcrsma4soui9af8fdv0&page=951#23765 This.]]
* CulturedBadass: If you doubt it, I invite you to note some of the names on the above list. - @/{{Noaqiyeum}}
* CutHisHeartOutWithASpoon: "I will find you, Noa. Take it for a fact. I will find you and I will burn your books. And I will be there laughing. While I break your pencils." - @/{{Noaqiyeum}} (XD)
* DeadpanSnarker: Only with friends.
* {{Expy}}: Of ClintEastwood- @/MrW
* [[FanGirl FanBoy]]: Of Joss Whedon. Which is cool, because [[{{Tropers/burinnu}} so am I.]] 'Cept for the whole male part.
* HotBlooded - [[{{Tropers/betterthanstrawberry}} betterthanstrawberry]]
* [[strike:[[MemeticBadAss Memetic]]]] {{Badass}} - @/{{Balmung}}
* MemeticBadass - @/MrW
* GodEmperor: Of {{Memetic Badass}}es - @/{{Balmung}}
* GrammarNazi: If you write something wrong in Spanish, I will hunt down your whole family
* MemeticBadass- on the forums -fringe
* RevolversAreJustBetter - [[{{Tropers/wannabeotaku}} The Otaking]]
* TheRival: With @/{{Noaqiyeum}} the EldritchAbomination! You are [[DidYouJustPunchOutCthulhu "Most Likely To Punch Out Cthulhu"]], after all. -- [[@/{{StolenByFaeries}} a faerie]] [[BlueAndOrangeMorality of the Orange persuasion.]]
* MemeticBadass - Yes, I think you deserve [[strike:four]] three listings of this on your page. That's how awesome you are. --[[@/FuschlatzOReilly Fusch]]
* MemeticSexGod: You brought this upon yourself. Accept it. ~@/{{betterthanstrawberry}}
* MillionairePlayboy: You're future, man. @/{{Cutewithoutthe}}
* MistakenForBadass ([[@/{{sgrunt}} ha!]])
** Care to put your fists where your hands are, gruntilda?
* NiceGuy: we've seen you in the Cuddlepile - don't deny it. -- @/{{StolenByFaeries}}
** In the words of the great man who we call Tomu: "Being manly =/= being a dick" And may I add it just means ''having'' one.
* RatedMForManly
* [[RunningGag Memetic Badass]]... well... just RunningGag, but it deserves another mention! --@/EarlOfSandvich
* {{Seme}} the forum game makes it unanimous
* PrettyCoolGuy - Oh man who doesn't think this? -- @/{{BlaineTheM0n0}}
* {{Uke}} - due to your MemeticSexGod status -- @/{{1whowillmakeEnzeru}}
* TestosteronePoisoning --@/EarlOfSandvich
* TwoGuysAndAGirl - With [[{{Tropers/Leradny}} me]] and @/{{Kino}}. IN A STRICTLY PLATONIC SENSE, MIND
* WarriorPoet - Search your feelings, you know it to be true. - @/{{StolenByFaeries}}
** Punches are pretty / Your face is all breaky / I'm a bored now / Because you're dead now. Yeah, I'm this generation Walt Whitman.
* FourTemperamentEnsemble - Your a definite Sanguine, with bits of choleric.... - [[@/VoidsEmpathy Eternal Void]]
[[/folder]]
[[folder:Film Project]]
Laconic: {{Brick}}: The political thriller.
There's a drug dealing net around school. As the days are counted towards election day, it's clear one of the two candidates is connected to this net as either a dummie or a leader. During the day previous to the election, there are various crimes commited through the school. That's where our characters come in. They're all involved in some way or another in this crimes and we see them through their POVs
1: Establishing setting and premise.
2: The story is told through changing POV of the same day of the 4 characters, who all have an internal conflict regarding the scoop they're trying to get
3. The question is answered and we see the final fate of the characters and where they stand after this.
[[/folder]]
[[folder:Laws of Storytelling for the Pretentious]]
This was inspired by a friend and me talking about the guidelines we needed to follow for the above project. As we went deeper and deeper, we realized these applied to any and every endeavor we take. As tropers are creators first and foremost, this is pretty interesting to discuss.
Now a couple of things. First, this is subjective, there's no perfect story, nor perfect way to tell the story. These laws are nothing more than guidelines to anyone who isn't called Juan Carlos. If you want to follow them, good. If you don't, it doesn't mean your story would be automatically bad.
1. Treat the audience smartly.
In another words, ViewersAreGeniuses if you treat them as geniuses. Never try to predict them, if you try you will fail. Never try to please everybody. Try to please yourself...I'm not going to make the obvious joke. No. Definitely I won't. Try to write a story that satisfies itself, then you, then the fandom.
2. Your story is sentient.
You must always, without a shadow of a doubt, know where it wants to go. If she wants to kill some characters, you must comply. Break a ship? Damn straight you must. Never, under any circumstances, question the story. Never ask what the audience wants (refer to the first point as to the why and wherefores on that) ask what the story wants.
3. Characters are human beings.
This means that they have complexities to them. There's no cartoonishly evil. Every villain thinks he's the hero of his own story. Everybody thinks they're doing what is right. Never forget that. It also applies to every cool archetype. {{Deadpan Snarker}}s are beloved all around, but remember to give them something more than snarking.
4. Don't let other works influence you.
OK, it's not that precise, but I cannot think of any other way to call it. Don't copy another work's treatment of X, if it doesn't fit the story. Just because another work is awesome, it doesn't mean that everything it did fits everything.
5. Take everything with a grain of salt.
All these laws are nothing more than guidelines. I call them laws because these are the ones I will always refer to. But they aren't a secret formula or recipe for the perfect story. This guideline applies to everything. Question what you're doing. Always. Ask yourself if that couple really fits. If that death made sense. Never go and tell yourself that everything's alright immediately. That's just asking for it.
6. Film addendum. Sound mixing: It may sound trivial, but sound ''is'' a deal breaker. If your movie/game sounds like a scratchy piece of crap where the dialogue is completely unheard and unintelligible and the explosions sound like the sound of nails against a chalkboard...well, how're you supposed to keep your audience?
[[/folder]]
[[folder: About-to-be-published articles]]
After a work interview (with one of my heroes, Ernesto McCausland, no less) there might be a possibility that I get published in a newspaper (El Heraldo) The reason they called into such a meeting was this article (warning: Spanish):
Este año ha sido (por lo menos en respecto a Colombia) un año falto de películas buenas. De esas películas que de verdad te hacen pensar. Inception (El Origen) es la excepción a esta regla. Y personalmente, es la mejor película del año.
Pero primero hablemos de Christopher Nolan. Hasta ahora el director más laureado y respetado de esta década, Nolan ha dirigido algunos de los proyectos más respetados de esta década. Ya sea un thriller sobre la amnesia y la obsesión (Memento) o el análisis psicológico de una de las figuras más importantes de la cultura popular (Batman Comienza) Nolan siempre ha encontrado la manera de sorprender e innovar.
Ahora bien esto es meramente una opinión. Lo que yo diga aquí no es un hecho valido e intocable. Pero El Origen representa la manera de hacer cine que tanto falta en estos tiempos, con ciertas excepciones. La idea del Auteur (la teoría de que la película es ante todo una creación del director) ha sido últimamente, si no olvidada, por lo menos despreciada. A los estudios no les interesa en lo más mínimo si una película es inteligente o bien hecha. Les interesa que sea vendible.
Aclaremos algo. Esto no es algo malo, es simple lógica. Los estudios necesitan ganar plata para financiar más películas y los llamados proyectos “artísticos” que salen en diciembre con el propósito claro de llamar la atención de la academia. El problema es que muchas veces los proyectos “vendibles”, debido a la demanda, son normalmente proyectos carentes en aspectos narrativos. Hay ciertas excepciones y hoy vamos a hablar de una de ellas.
Inception mezcla esas dos mentalidades, la mentalidad de apelar al público y al director. Es una historia que nunca salta donde querría el publico que saltara, pero salta donde ella misma quiere saltar. Pero en cambio nunca insulta a la audiencia ni desconsidera su opinión. Esta es la mentalidad que Nolan ha traído al cine desde el momento en que empezó a dirigir. La idea de que la audiencia es inteligente. No son unos idiotas a los que tienes que alimentar con la mano. Pero que son personas a los que les tienes que cocinar, y después ver si lo disfrutan o no.
Inception, marca un hito para Nolan y su equipo. No solo es un éxito artístico, sino también un éxito económico. La pregunta es: ¿Qué hará Hollywood con respecto a esto? Después de todo, esta no es la primera vez que un éxito de una película ha sido directamente proporcional a su inteligencia. El caballero de la noche nos lo comprobó hace dos años. Pero ¿ha habido algún cambio? Pues los Oscares decidieron aumentar el número de nominados para poder incluir más películas en la carrera, películas como el Caballero de la Noche que nunca ganarían un Oscar debido a que la Academia los vera siempre como películas de baja calidad artística.
El problema siempre va a ser lo que yo llamo “Gueto Artístico”. Los guetos son la idea (obviamente errónea) de que un medio o un género no merecen respeto por ser parte de ese medio. Los oscares nunca reconocen los valores de una película de comedia (uno de los conceptos más complicados de ejecutar en cualquier medio) o Ciencia Ficción (no te podría decir porqué; la verdad) o de la Animación (A pesar de que el cine empezó como animación) Los estudios saben esto y compensan. Hacen una película que va a vender en Junio una película para los oscares en diciembre.
La pregunta es esta ¿Que tal si se esforzaran con los proyectos del verano? Después de todo, no es necesariamente cierto que una película de acción no pueda desarrollar sus personajes ni crear una historia que vaya mas allá de disparos y explosiones (Duro de Matar) y ciertamente El Origen no es precisamente original en ese departamento.
El problema es claro, lectores. Es que nos estábamos dejando estafar. Le dábamos la plata a Hollywood por las películas más débiles que pueda tener y nos vamos cuando planean ir en serio (¿Cuantos de nosotros se fueron a ver la red social?) Pero El Origen comprueba que si se puede mezclar la acción de las películas de mitad de año con la inteligencia y la calidad de las películas de final de año. Espero con toda honestidad que sigamos haciendo caso al llamado de Nolan y así Hollywood escuche. Y así podremos volver a tener películas geniales todo el año en vez de diciembre y enero.
[[/folder]]
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[[folder:Analysis on Fisher Price]]
Fisher Price: The destabilization of the American Dream, its ramifications on a post-war society, and the attempts of all but one to remedy its societal influences on the greater structures with which we surround ourselves.
Once, maybe twice, or perhaps even thrice in a lifetime, there is a single piece of art, a single work of fiction that not only radically changes our perception of reality, but changes our perception of that perception itself.
Fisher Price is one of those works.
Come, my dear friends, and let us sit down to enjoy the masterwork of postmodern anti-Dada neosurrealism that is Fisher Price.
The Complete Work
go eat shit fuckers
The Author
The author of this magnificent work remains a mystery, not only to the world at large, but quite possibly to even his closest relatives and peers. You see, as with any great author, IPN 4.252.99.182 wished to remain anonymous at first publication, in order to "test the waters" per se and make sure that this seminal work of fiction would not be scorned by the mass media or even the inner circle of art critics, that chosen group that we, the common leity, often look down upon, even sneer at, for their supposed like-minded, self-centered hypointellectualism. But are they not humans, just as we are? The famed Prime Minister of the United Kingdom, Winston Churchill, perhaps put it best:
A man does what he must - in spite of personal consequences, in spite of obstacles and dangers and pressures - and that is the basis of all human morality.
Indeed, Churchill. Indeed.
This tactic of concealing one's identity has ramifications both in the work itself and in the broader spectrum of wavelengths and neural impulses which we, the collective civilization of humanity, entitle "real life." It is not dissimilar to the choice made by Joanne Rowling, perhaps better known as J.K. Rowling, author of the critically and commercially acclaimed Harry Potter series of children's and young adults' novels. In that context, the madame wished to not turn away readers of the male gender who would otherwise be wary to consume a work of fiction penned by a female. It worked marvelously, and Joanne is perhaps recognized to a greater extent by her pen name than by her birth name. Could it be possible that 4.252.99.182 wished to conceal his/her gender in order to do the same thing? It is not implausibly unfathomable. After all, a surprisingly well-documented aftereffect of this tangled life we humans lead is the widespread idea that there are "no girls" on the Internet. On the other side of the coin, could this work be said to have a level of depth and complexity that the author wished to challenge the stereotypes of men as uncouth hedonists, but was to uncourageous to tempt it? That, too, is also a valid theory. Truly, whatever can be said of the author in veritate must be held up to the concepts of both proto-feminism and bigoted misogyny, on both the male and female ends of the sex spectrum.
However, taken within the context of the work, the anonymity of the author can be taken back in an entirely new way. It could even be said to take one aback.
GO
When one considers that "go" is a verb commanding one to perform the action of movement to either a specific or non-specific place in space or time, one can see that it is totally possible that his unidentification is a bold statement against the growing movement of our species to a point in time that encompasses all matter and knowledge, often referred to in common scientific parlance as the "Singularity." By saying "go" he is implying - nay, commanding that it would be most beneficial for the reader to escape the growing homogenization and radical commercialization and argumentative convenience of the modern world. A similar marketing tactic was employed by the Quaker Oats Company in their internationally lauded "go humans go" marketing campaign, which consisted of merely that, posted upon a billboard. Another thing the discussed work has in common with this marketing campaign is its brevity yet wit. After all, it was Shakespeare, the most eminent playwright of the early Victorian era, who used the character Polonius, right-hand man to King Claudius, in the famed play Hamlet, to remark the famous English proverb:
Brevity is the soul of wit.
Indeed, Shakespeare. Indeed.
"EAT"
Once again we stumble upon a command verb. Commands, historically and presently, in the common vernacular, refer to the use of planned battalion strikes when people or places are in states of war, usually delivered by a man of much prominence. Therefore, "eat", in this context, can be interpreted as a truly brilliant literary allusion to the infamous work of Salo or the 120 Days of Sodom, written by Marquis de Sade. In that book, people are forced to undergo various vulgar and humiliating treatments that conscribe either to the punishments that we unconsciously inflict upon one another in this cruel world, or the deranged, megalomanious (in the definition of "desiring to exert power over another") fetishes of the author himself. Or perhaps it is an allusion to the widely-publicized film adaptation of that book, of the same name. It is certainly a more direct allusion, especially considering the fact that in the motion picture, the ones performing the orders to "eat", often times various excrement, are military officers and government officials. Perhaps the entire work is a thinly-veiled parody of Salo? Well, as you can see, it borders more in the "deconstruction" edge of that precipice.
Also of note is the fact that Salo was banned from sale in the Southern Hemisphere country of Australia. Thus, the entire work could also be construed as a rebellious statement of the freedom of speech, and the lines one must draw when confronted with the conflicting but equally important virtues of protection of the citizens and protection of artistic expression.
"SHIT"
Now we arrive at the true meat of the work, no pun intended. At this point the reader dives headfirst into a tumultuous tale of scandal, corruption, bitterness, greed, and diaspora. Not a diaspora of the people, but rather, a diaspora of the mind. In daily life, we oftentimes make a pointed attempt not to use socially imprudent, unacceptable words such as "shit", "piss", "fuck", "cunt", "cocksucker", "motherfucker", and "tits." The placement of "shit" at the top of this "List of Dirty Words", if you will, implies a sort of pseudo-incestuous relationship between the moral degradation of outer society and the hasty mechanisms of various groups whose agendas consist of cleansing the world of impudence, vile filth, and wretched hives of scum and villainy, both in our minds and in our lives. The French term for such a person is ''pédé de moralit."
[[/folder]]
Fisher Price: The destabilization of the American Dream, its ramifications on a post-war society, and the attempts of all but one to remedy its societal influences on the greater structures with which we surround ourselves.
Once, maybe twice, or perhaps even thrice in a lifetime, there is a single piece of art, a single work of fiction that not only radically changes our perception of reality, but changes our perception of that perception itself.
Fisher Price is one of those works.
Come, my dear friends, and let us sit down to enjoy the masterwork of postmodern anti-Dada neosurrealism that is Fisher Price.
The Complete Work
go eat shit fuckers
The Author
The author of this magnificent work remains a mystery, not only to the world at large, but quite possibly to even his closest relatives and peers. You see, as with any great author, IPN 4.252.99.182 wished to remain anonymous at first publication, in order to "test the waters" per se and make sure that this seminal work of fiction would not be scorned by the mass media or even the inner circle of art critics, that chosen group that we, the common leity, often look down upon, even sneer at, for their supposed like-minded, self-centered hypointellectualism. But are they not humans, just as we are? The famed Prime Minister of the United Kingdom, Winston Churchill, perhaps put it best:
A man does what he must - in spite of personal consequences, in spite of obstacles and dangers and pressures - and that is the basis of all human morality.
Indeed, Churchill. Indeed.
This tactic of concealing one's identity has ramifications both in the work itself and in the broader spectrum of wavelengths and neural impulses which we, the collective civilization of humanity, entitle "real life." It is not dissimilar to the choice made by Joanne Rowling, perhaps better known as J.K. Rowling, author of the critically and commercially acclaimed Harry Potter series of children's and young adults' novels. In that context, the madame wished to not turn away readers of the male gender who would otherwise be wary to consume a work of fiction penned by a female. It worked marvelously, and Joanne is perhaps recognized to a greater extent by her pen name than by her birth name. Could it be possible that 4.252.99.182 wished to conceal his/her gender in order to do the same thing? It is not implausibly unfathomable. After all, a surprisingly well-documented aftereffect of this tangled life we humans lead is the widespread idea that there are "no girls" on the Internet. On the other side of the coin, could this work be said to have a level of depth and complexity that the author wished to challenge the stereotypes of men as uncouth hedonists, but was to uncourageous to tempt it? That, too, is also a valid theory. Truly, whatever can be said of the author in veritate must be held up to the concepts of both proto-feminism and bigoted misogyny, on both the male and female ends of the sex spectrum.
However, taken within the context of the work, the anonymity of the author can be taken back in an entirely new way. It could even be said to take one aback.
GO
When one considers that "go" is a verb commanding one to perform the action of movement to either a specific or non-specific place in space or time, one can see that it is totally possible that his unidentification is a bold statement against the growing movement of our species to a point in time that encompasses all matter and knowledge, often referred to in common scientific parlance as the "Singularity." By saying "go" he is implying - nay, commanding that it would be most beneficial for the reader to escape the growing homogenization and radical commercialization and argumentative convenience of the modern world. A similar marketing tactic was employed by the Quaker Oats Company in their internationally lauded "go humans go" marketing campaign, which consisted of merely that, posted upon a billboard. Another thing the discussed work has in common with this marketing campaign is its brevity yet wit. After all, it was Shakespeare, the most eminent playwright of the early Victorian era, who used the character Polonius, right-hand man to King Claudius, in the famed play Hamlet, to remark the famous English proverb:
Brevity is the soul of wit.
Indeed, Shakespeare. Indeed.
"EAT"
Once again we stumble upon a command verb. Commands, historically and presently, in the common vernacular, refer to the use of planned battalion strikes when people or places are in states of war, usually delivered by a man of much prominence. Therefore, "eat", in this context, can be interpreted as a truly brilliant literary allusion to the infamous work of Salo or the 120 Days of Sodom, written by Marquis de Sade. In that book, people are forced to undergo various vulgar and humiliating treatments that conscribe either to the punishments that we unconsciously inflict upon one another in this cruel world, or the deranged, megalomanious (in the definition of "desiring to exert power over another") fetishes of the author himself. Or perhaps it is an allusion to the widely-publicized film adaptation of that book, of the same name. It is certainly a more direct allusion, especially considering the fact that in the motion picture, the ones performing the orders to "eat", often times various excrement, are military officers and government officials. Perhaps the entire work is a thinly-veiled parody of Salo? Well, as you can see, it borders more in the "deconstruction" edge of that precipice.
Also of note is the fact that Salo was banned from sale in the Southern Hemisphere country of Australia. Thus, the entire work could also be construed as a rebellious statement of the freedom of speech, and the lines one must draw when confronted with the conflicting but equally important virtues of protection of the citizens and protection of artistic expression.
"SHIT"
Now we arrive at the true meat of the work, no pun intended. At this point the reader dives headfirst into a tumultuous tale of scandal, corruption, bitterness, greed, and diaspora. Not a diaspora of the people, but rather, a diaspora of the mind. In daily life, we oftentimes make a pointed attempt not to use socially imprudent, unacceptable words such as "shit", "piss", "fuck", "cunt", "cocksucker", "motherfucker", and "tits." The placement of "shit" at the top of this "List of Dirty Words", if you will, implies a sort of pseudo-incestuous relationship between the moral degradation of outer society and the hasty mechanisms of various groups whose agendas consist of cleansing the world of impudence, vile filth, and wretched hives of scum and villainy, both in our minds and in our lives. The French term for such a person is ''pédé de moralit."
[[/folder]]
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* I'd put something here but you'd just cast Oblivion Ring on it. --@{{Zudak}}
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* I'd put something here but you'd just cast Oblivion Ring on it. --@{{Zudak}}
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* I realized I haven't vandalized your page yet. Now I have. Tah! {{@/Tidal_Wave_17}}
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* Dear sir, it is an embarrassing thing to realize how long it took me to vandalize your page. @/Leradny
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Have you danced with the Fae in the pale moonlight? - [[@/StolenByFaeries a devilish faerie]]
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* [[hottip:Do an Arthur!:http://static.tvtropes.org/pmwiki/pub/images/inceptionDoABarrelRoll_2180.png]]
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* A true brother and probably the best man Colombia has ever known. You should be, like, the president or prime minister or king of it. Or maybe you should just keep posting funny image macros and talking about Evangelion. That's fine too. -@/Sporkaganza
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* -gets out spray paint cans and paints extremely offensive graffito tags and vulgar imagery on your page- -@/AnneBeeche
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* -gets out spray paint cans and paints extremely offensive graffito tags and vulgar imagery on your page- -@/AnneBeeche--@/AnneBeeche
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* -gets out spray paint cans and paints extremely offensive graffito tags and vulgar imagery on your page- -@/AnneBeeche
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* {{Tsundere}} -- YOU KNOW YOU ARE! -- {{Tropers/Malkavian}}
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* {{Tsundere}} -- YOU KNOW YOU ARE! -- {{Malkavian}}
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** Workking on it, Sean boy. But first and foremost, studying...hard.
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* TheCharmer: well, duh :P - @/StolenByFaeries
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* FourTempreamentEnsemble - Your a definite Sanguine, with bits of choleric.... - [[@/VoidsEmpathy Eternal Void]]
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* FourTempreamentEnsemble - Your a definite Sanguine, with bits of choleric.... - [[@/VoidsEmpathy Eternal Void]]
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* CrowningMomentofHeartwarming: [[http://tvtropes.org/pmwiki/posts.php?discussion=rhgmlvcrsma4soui9af8fdv0&page=951#23765 This.]]
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* Hey, dude, haven't bumped into you on the forums in a little while. Just wanted to stop by and ask about how the film project was coming along. --@/SeanMurrayI
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* I really hope you got around to DoubleIndemnity. -{{blamspam}}
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