Basically, the Star Wars part of my story is the use of archetypes and some elements like The Empire, a magical group (or in my case, species) that practiced a magical power until they were wiped out, ligthsaber esque weapons for main characters, use of political symbolism from older or modern periods and others.
The Evangelion part is the Earth setting plus the Alien invasion angle of it, but most importantly is the aspect of characters going through trials and tribulations while their core traits gets deconstructed, but in my case, they also get reconstructed. And there's no overly religious symbolism or mind fucks.
"Cynicism is not realistic and tough. It's unrealistic and kind of cowardly because it means you don't have to try."By your description, I could see the "Star Wars" comparison. (Again, I don't really know "Evangelion" well enough to comment much there.)
I'd guess then that your editor and you just find different elements to be prominent; different perceptions, and all that.
I suppose that perhaps a more-useful question is this: How do you feel about your work being described as "Marvel Comics if it was a Military SF"?
My Games and Asset PacksSo, I'm trying to outline a set of chapters that are meant to build up one of my heroes' eventual comeback where he makes peace with figures involved in a traumatic incident after battling an evil sadistic daughter.
Do I need three or more to build up the battle where that moment happens?
"Cynicism is not realistic and tough. It's unrealistic and kind of cowardly because it means you don't have to try."That depends on how much narrative ground you'll need to cover to build up this comeback. Also, chapters can be anywhere from a couple sentences long to several thousand or tens of thousands of words long; a specific number of chapters isn't really a useful metric. Having three chapters would be a handy way to organize a mini-three act structure to this comeback plotline, but that presupposes that your plan for this would even work with such a structure.
"Jack, you have debauched my sloth."Well, the thing is that in the build-up, I believe there could be some development and backstory for a certain character outside the hero that could later get a payoff, especially when it comes to their relationship with adoptive parents. That, and probably some more of the other heroes, especially with those who are close to hero.
"Cynicism is not realistic and tough. It's unrealistic and kind of cowardly because it means you don't have to try."I’ve got a crew of immortal mercenaries. They’ve been working together since the 1870s. Their version of immortality is basically the version from The Old Guard (Healing Factor, resurrective, eventually they’ll run out of “lives”). Immortals aren’t an endangered species; there are still plenty out there, and probably “new” immortals in the future.
My story primarily would focus on two of the mercenaries. They’re a Battle Couple who’ve been together since the early 17th century. Basically, Gomez & Morticia/Nick & Nora Charles in SAS/SWAT-style gear (with swords!)
My roadblock is this: How do I explain the immortals without an awkward Infodump, clunky Silver Age-style exposition, or the use of a “new” immortal?
I’ve faked death under many names. Carswell; Trelawney; Marcato; Haddo; Gallion; Felton; Riddle…Are they rare enough a significant portion of people have gone their whole lives without meeting or having a meaningful conversation with one? If so they could just describe their personal history interwoven with the broader concept to somebody else involved with an operation (such as a person they're rescuing) in the same way one might talk to a curious foreigner.
Well, I doubt they’d just “come out” to a random stranger.
But there’s not any Highlander-style Gathering going on, with everyone racing to be the last one standing. And they don’t have the Buzz
, so usually they find out someone’s been around for a while if they happen to witness a revival/speed healing session.
Generally, a majority of them treat their immortality not as a blessing or curse, but like a medical diagnosis: “This is a part of my life now. I’ll just have to adapt”.
I’ve faked death under many names. Carswell; Trelawney; Marcato; Haddo; Gallion; Felton; Riddle…If you want to explain the specific elements of your immortality, then I might suggest drizzling elements in a little at a time.
For example, you might start with the broad-strokes, and—as suggested above—begin by showing a character returning to life. Maybe sprinkle on some characterisation with how they react.
Later, you might show a less-dire wound healing.
And later still, you could have the characters discuss their earlier "lives", and maybe speculate (or try to calculate from memory) how many they have "left".
My Games and Asset PacksI've come up with a funny sidequest for a story that takes place hundreds of years in the future (after The Magic Comes Back). You have to go stop some cultists who are trying to resurrect an ancient evil who, only a few centuries ago, was seen as the embodiment of evil. They end up resurrecting Adolf Hitler. As an Evil Sorcerer. Who you then defeat, causing him to explode into gore (in a game that would be fairly restrained in terms of blood and gore for maximum impact when it does happen)
Edited by TheLivingDrawing on Jun 8th 2024 at 1:33:21 PM
Once Upon A Time.I mean, it depends on the tone of the rest of the work, I feel.
Even the shift in gore-levels might be fine if it feels in-keeping with the rest of the work in one way or another, I daresay.
My Games and Asset PacksIt might also be seen as humorous from being too over the top (Wizard Hitler is not too far from Kung Führer, for instance). I don't know if that fits the mood you are trying to set.
Whatever your favourite work is, there is a Vocal Minority that considers it the Worst. Whatever. Ever!.Do you know any revenge play-type story where a son avenges a father, that i could make reference to in my own story (other than Hamlet)?
Doesn't need to be a play. I noticed it seems to usually be a father who avenges his children or something else in revenge plays (besides Hamlet).
Edited by Nukeli on Jun 13th 2024 at 2:27:49 PM
~*bleh*~![]()
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The setting is very wacky and surrealistic (since imagination-based Your Mind Makes It Real is the key form of magic) so it fits. The plot gets into extremely dark territory, but maintains more of a balanced tone. Think Persona 5 tone-wise, but the setting is completely bonkers. Persona 5 was actually a huge inspiration. In terms of the gore, it would be intentionally out of place since the violence would otherwise be stylized, but Played for Laughs like the Hitler death cam from Wolfenstein 3D.
For the record these are ideas I don't think will materialize in any form, I just enjoy developing ideas for works in my head. Is this the right thread to share my ideas?
Edited by TheLivingDrawing on Jun 13th 2024 at 12:34:11 PM
Once Upon A Time.So, one person told me having the right-wing as one openly portrayed as willingly collaborating with an oppressive alien empire reeks of making a strawman "woke" story instead of a good one.
Even though the latest events make me think it's something worth commenting on, and what the person told me has tons of red flags which included this:
"because you are clearly DESPERATELY trying to make the right wing look like evil pawns of le aliens because you CLEARLY don't want to possibly portray the left as also morally poor"
"Cynicism is not realistic and tough. It's unrealistic and kind of cowardly because it means you don't have to try."Assuming you're asking for advice and not just commenting on the ever-present people that can't understand nuance, I think the best way around that would be depicting them as working with the aliens as an actual consequence of their ideology and not just because they're bad guys. Maybe they appeal as a strong sense of authority or tradition, maybe it's because they also operate on a survival of the fittest philosophy, or because they think leaving nations to their own devices isn't in their best interest. You know like IRL Nazi sympathizers that were distressingly common outside of Germany.
Edited by unregisteredaccount on Jun 21st 2024 at 3:52:34 AM
G Ood info, albeit the guy may still bash it anyway.
"Cynicism is not realistic and tough. It's unrealistic and kind of cowardly because it means you don't have to try."I mean the way they phrased it might seem rude, assuming you're accurately portraying it, but it is a reasonable concern. Collaboration with occupying forces spans the political spectrum essentially no matter what the occupying force is offering ideologically, because resistance tends to suck for the people doing it, and resistance forces tend to skew to every ideological extreme they can. Fascists and right-wing theocrats pop up in resistance movements all the time, as much as, if not more than communists and left-populists. (For instance, in Afghanistan throughout the 70s and 80s, and again in the 2000s, and of course Iran in the 70s and parts of France in the 40s) More functional groups, like Democratic Progressives and Social Democrats, tend to get pushed out of resistance movements for being insufficiently radical.
It may not be the story you want to tell, and that's fine. But it is a reasonable concern to have, if you're claiming right-authoritarianism is a uniquely collaboration-prone ideology, something that historically does not seem to be the case (and arguably the opposite is actually true, radical politics of any stripe, including both far-left and far-right ones, are a common vector of resistance as much as if not more than vectors of collaboration), then it could come off as preachy.
Edited by Florien on Jun 21st 2024 at 5:38:19 AM
Never claimed it as such, but even so, many pointed out that if said empire had a very esoteric darwinistic ideology, the main bulk of those who would join willingly in an ideological sense would be in the right-wing as pointed out by this user:
"As a general rule, left-wing policies favor dissemination of power among people while right-wing policies favor a strictly hierarchical structure. Even in the "on paper" version, even if it actually worked the way people think it does, meritocracy does not disseminate power.
Meritocracy AKA social darwinism that the Zlocu practice fits more with far right beliefs than far left. The Zlocu still practice hierarchy. It sounds "fairer" to a libertarian mindset, especially an atheistic one because they go for a might makes right premise. But it's still rooted in the conservative premise that some people are fundamentally better than other people, and that a society can only thrive by separating the superior wheat from the useless chaff."
"Cynicism is not realistic and tough. It's unrealistic and kind of cowardly because it means you don't have to try."

I think you have part of it backwards. Eva had Earth as a large chunk of if not the entire setting and there were not any instants of alien worlds even though there are obviously aliens. (
And SW is the trope consider for Space Opera.NVM misread that part of the post)Star Wars is more overtly fantastical because the fantasy elements are more spread out compared to Eva limited it to the aliens, the Mecha, the places where they were stored and the lcl tang.
The actual differences are that Evangelion is a Cosmic Horror Story and Star Wars is a Jidaigeki inspired tale with spec fic elements that do not focus on cosmic horrors as conventionally described.
Edited by MorningStar1337 on May 31st 2024 at 8:28:15 AM