Just A Flesh Wound

The first game-changer that came to mind, and spawned this brief series of discussions, is one very much ingrained in fantasy settings. To a certain degree it has been built upon ruthlessly in video games so much that it is entirely a staple without which most of those games would not exist. The premise comes from the earliest of fantasy fiction, at least modern fantasy fiction--older fantasy tended more toward mythology to outright belief. It seems to have a certain home in D&D as well. Without this specific element in these fantasy settings the games would be very much changed. This game-changing factor is the ability to miraculously heal at accelerated rates. It can include regenerating limbs, psychic abilities to heal and perform surgery, and the staple fantasy resurrections.

Amazing accelerated healing may come about by different means. Psychic abilities to heal the body have been mentioned. There are healing spells and magical potions that restore health. There are salves, balms, tinctures, and other forms of arcane herbal and alchemical methods of healing not only bodily damage, but also removing disease and congenital defects. Changing genres there are advanced forms of science driven healing from chemicals and drugs, to nano-bot surgeons injected into the blood stream, to the melding of man and machine with cybernetics. What is important about these forms of healing is not the exotic nature, not the unnaturalness--that would be normal for the given settings--but the efficiency and speed at which they work.

Whatever the method, these forms of healing change the dynamics of the setting. Militaries with these capabilities are more aggressive and likely to go to war. Consider the turn around of injured soldiers. True bravery is less, but daring moves--manoeuvres and strategy--more common. Extreme actions are frequently taken because the risks are less. Safety and carefulness is less important. Permanent damage taken out of the equation alters the dynamics of fear as well. What happens when terrorists' victims can be raised from the dead? Or the terrorists themselves resurrected? Thought should be put into how people will try to counter superior healing and returning the dead to life. This kind of healing will also alter people's life spans, which changes the game in other ways.

Mood: calm.

Music: Deep Unknown by Stratovarius and Obsolete by Fear Factory.

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Goal in the Bottom of the Ninth

It is time for a bit of a change in gears. The next few weeks or so the focus will shift toward role-playing games again. This is not to say--as is frequently said here--that what will be discussed is any less relevant to plotting a novel or writing a screenplay. All of these items, and all narratives really, share certain things in common such as plot, settings, and types of characters. This definition of character is as far as their place in the setting, in the society they were born into, and/or the society they adopt as their own. It informs and involves their profession. The other definitions of character are almost exclusive of this and need not change significantly from setting to setting. Only the actions they bring about change, not the motives behind them in the different settings.

The quantities that will be discussed involve modifications or elements of certain settings that change the nature of the game. They change the way plots and conflicts are resolved over the long term across multiple encounters. From role-playing games to stories these game-changers affect the timeframe under which the story progresses. They affect the level of tension in the story. At the same time they bring to the story different things in place of the lost tension. When conflict is altered it has a ripple effect that carries over beyond how combat is done. At the military level some of these changes will affect the strategic planning and materiel management. Others will have an effect on the motives behind going to war and the willingness to do so.

Much of the way a society handles itself and the traditions they involve themselves in come about because of their militaristic habits. At the least, military inventions and procedures trickle down because of the required innovation to constantly one-up the enemy and the sense of duty and efficiency required by any good army. Those two are just such a potent combination. At the same time that combination is pretty rigid and doesn't allow for much variation so of course it can only be one part of the necessary equation to create a society, or number of societies. The variations, the differences, from one group to another group are where a lot of friction comes and where conflict is developed. So it is that next week begins with the first look at one of these game-changing elements.

Mood: mellow.

Music: Paint It, Black by The Rolling Stones and Chariots of Pumpkins by John Carpenter.

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Conceptions, Intuition, and Truthiness

The other day the following interesting article came to my attention. It was titled "Would You Wear a Serial Killer's Sweater?" It also asked, and I asked again on Twitter, "Would you fear the volunteer who did put on the sweater?" All sorts of factors surrounding social interactions, concepts of what is real and what isn't, intuition about what's real, among others, come into play in this discussion. This is a different tack toward the same kind of idea being explored here lately. All of them come together to build connections between the characters in a story, the plot, and both the expectations and impact upon the audience of the work. Many narratives carry one singular reality, whether or not it is an exact replication of the real world or something very fantastical and different.

How does the sweater play into this? First it does not matter that it is not actually a serial killer's sweater. The insinuation or claim that it is such is enough on its own. Likewise it does not matter that the item is laundered. It still carries the connotations as if it were still stained with the blood of the killer's victims. The idea makes people nervous and uncomfortable. Its proximity causes anger in some even before the outrageous request for someone to don it. It is a tainted item. Worse, that taint may rub off. Conceptually it is an artefact of evil. Fascination with it, shown by taking the offer to wear it, points to the evil nature of that volunteer. It is something that should be reviled and likely feared. Those not espousing such emotions are questionable. Or so the theory goes.

It is a gut instinct, an emotional response that the sweater is bad. This is the same intuitive sense people have upon learning of a person's criminal record. It is of course worse if the intuiting person is familiar with the exact crime, and hard to look past if it was violent. This all begs the question, which is more important, actual fact, or just perception of the truth of something? That word truthiness, trite as its origins are, and frightening as the concept is, seems to sum up the answer to that question as today's society would answer it. Perception is everything in a large segment of the population. This is something that can and should be capitalised on in fiction. It comes up on this blog more than once for a reason. It is depth well used for characterisation, direct plot, and secondary conflict.

Mood: airy.

Music: The Unforgiven III by Metallica and Inconclusion by Dee Snider.

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Bad Blurring of the Lines

On Twitter there is a sprawling community that is rancid, rank, and utterly decadent. This community prides itself on these virtues in mock-physical sense. They are zombie fans. Some of them purposefully obliterate the line between fiction and reality in their communications. They are in essence role-playing on Twitter as zombies. Their antics are as funny sometimes as they must inevitably be disturbing to non-fans of zombie movies and fiction. It is easy to image the horror and indignation of the horror uninitiated in response to the outlandish and gruesome posts. A fan of horror and of zombies can really get into most of what they do. They are awfully witty and comedic for the walking, ravenous dead. They have the most interesting and not for safe work outlook as well.

There is one trend that has developed recently that bears consideration. It also seems to be ill conceived and for once in bad taste regardless of the popularity of it, and the popularity of zombies and horror. Not everyone is jumping on the bandwagon and there is no apparent backlash against it. The trend is to equate the H1N1 virus, otherwise known as human communicable swine flu, with a new and real zombie outbreak and ultimately a start to a zombie apocalypse. Now, it's not the disease factor that is the problem, nor the idea of a zombie apocalypse. There is a great Facebook group called The Hardest Part of a Zombie Apocalypse Will be Pretending I'm Not Excited which expresses the normal sentiment of zombie fans.

It is not even either of these ideas, but at the same time they do lend to the unease of this blurring of the line of reality. The first fear is that some people who are not aware of the fact that this is fictional masquerading as real will get the wrong idea and spread panic like wild-fire. The second is that such a pairing of a real disease, which has resulted in the real deaths of people, with a fictional milieu is insulting to those who have died. A virus that causes the dead to rise is nothing new. Neither is fiction revolving around death by contagion. Something about it just doesn't sit right though and the sooner the trend is over the better. This speaks to what is acceptable, where the line is between the shock and the horror desired, and just being distasteful.

Mood: smooth.

Music: Rock, Rock by Kevin Dubrow and Thrills In The Night by Kiss.

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