Don't Wear Us Out, Josh

Last week I talked about the new Umbral Intentions fiction blog starring and written by Josh Rhoads. There was a couple of spoilers, one worse than the other. Just check back, I won't mention the worst one again if you want to know about it. There was a different discussion about the project over at Inchoate Ascendant titled "Don't Jump the Gun, Pants Kicker" about the actual name of the blog. Since I may want to reference it here today you get to be the first to learn that the blog will be titled "On Dark Rhoads" and not Umbral Intentions--to confuse things worse, as also mentioned last week, the blog is for the This Mental Eventide RPG. Now with that out of the way...

The topic of merit today--and this is the lesser spoiler from last time repeated--is pacing the haunting, or how to parcel out the ghostly events. Being a blog places constraints on the story I will be telling that have less to do with the story that they do with how blogging works. This is of course only on some levels. On others it doesn't impact the story itself. Here again I'm giving things away prematurely. The first order of business is setting up Josh. Who is he on the blog? This is something different than who he is in actuality. He could just jump right in with details on the haunting. That doesn't exactly establish him as someone the blog reading public should believe. So, he begins with an introduction followed by a couple normal slice of life style posts. From there he begins to tell his past encounters and then get into posting about them shortly after the fact.

This second stage of story telling is where the issues begin to crop up. First, the blog is scheduled for Saturdays. Obviously all of the haunting incidents will not happen on just Friday or Saturday. This brings about issues of immediacy, and plays into tension. This is a matter intrinsic to blogging versus real-time interactions like Twitter and Facebook streams. It's just like news reporting where you chose an in-depth look versus greater timeliness. The length of each blog post is a further limit--they tend toward the shorter, especially shorter than full scenes in a short story or novel. There is a certain concision and economy. Another issue is that not every post should be about the haunting. This is important to avoid overload or desensitisation to the creepy goings-on. It also plays into the other important factor.

There is also the matter of pacing the haunting itself. It will progress, it will get worse, and more harrowing as time passes. The haunting must escalate. It will have its highs and its lows as far as the amount of activity. It may be cyclical, or it may be dependant on outside factors such as witnesses. Both will be true actually. Then at the same time the lows will be less frequent and less of a reprieve. Likewise the high activity occasions will be more frequent and more extreme.

The idea that witnesses impact the haunting is typical of real cases, especially when said witnesses are intrusive paranormal investigators who come along and disrupt the haunting either with their equipment, their presence, and most often because the entities responsible for the haunting are shy and do not wish to perform for strangers. There are however different new witnesses who can be brought into the situation who have no detrimental effect on the haunting and in fact encourage it as much or more as the original target. That's all I'll say for now.

Mood: teasing.
Music: Catcher In The Rye by Guns N' Roses and Ghost of Perdition by Opeth.

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A Thousand Hacking at the Branches

Henry Thoreau is attributed as saying, "There are a thousand hacking at the branches of evil to one who is striking at the root." It's a quote that I've always found fascinating ever since I heard it from the lips of Captain Howdy in Dee Snider's "Strangeland". I believe the meaning is that it is better to get to the core of the evil and deal with it than waste time with minions. I prefer to twist it around in a kind of reverse. I like the idea of it being about tapping into evil rather hacking away at it to get rid of it. There are thousands brushing against what it is to be evil and amongst them is a true monster. In a recent interview to be posted next month I brought up my dislike of pathetic punk and rabble sort of evil. I have a real taste for the boogeymen the monsters fear.

Every now and again there is a story or a movie where a group of ne'er-do-wells or even outright miscreants are out doing their damage, sowing chaos, and/or generally ruining other people's lives. Then they come into a situation like so many others before, except that this time they will be the victims. There is more than one way for the worse evil to prove that it is worse. It doesn't always have to be the stock answer that they are more violent, more sadistic, or more perverted. Here is where manipulative and insidious is more fun, even if eventually it comes down to a gruesome end for the lesser evil. Another choice I find less than desirable is for the victims to be brought down by their own in-fighting. Some find great satisfaction in that, but I find it wears thin. This leads to one of the defining elements of hard-core evil.

Like anything else, it's easy to overuse it, but I find the worst evil that villains can do is bring out the evil in otherwise good people. It's nothing to make the selfish and the uncaring to commit heinous acts, but if you can make upstanding people willingly do the wrong thing, what they would never do on their own in most other situations, then you're getting somewhere, evil-wise.

There is an unasked question here. Where does the protagonist fit into this story? A lot of the time there isn't one; not in the sense of a hero. Sometimes it may be the least offensive of the victim villains. Some other good person caught in the middle and able to provide a sense of urgency or heightened tension is a good choice. Things can get complicated. That is a consideration to keep in mind. Tying back to last week, it is a more relatable, good, person that provides for a greater anchor to the horror for the audience. Finally, the three-way conflict has its own pros and cons. The dynamic is different, and it affects the warp and weft of the mood, pacing, and character requirements as much as it does the narrative fabric.

Mood: meditative.
Music: Original Sin by Meat Loaf and Instruments Of Destruction by N.R.G.

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13 Nights of Hallowe'en 2010: Night #3 The Fog (2005)

It's Thursday and our movie is the 2005 remake of The Fog. The first question you must be asking is why the remake? Don’t get mewrong, the original is classic John Carpenter, but it was so random overall. As far as storyline goes I prefer this remake with its solid back-story to explain the ghosts. It has a little bit of randomness and of course a modern aesthetic, but Carpenter himself seemed congenial to the film in the extras, so what the hey. The remake stars Tom Welling from Smallville and his love interest is Maggie Grace from Lost. The iconic radio host played by Adrienne Barbeau in the original is now played by Selma Blair from Hellboy and seems much more peripheral to the story. The director, Rupert Wainwright, also directed Stigmata and the episode "Echoes" of the TV horror series Fear Itself.

Remakes are a touchy subject, but I'm always of the mind that a movie should be watched on its own merits. Not on the original version, not on previous movies in a franchise, not even in comparison to other work by the same director. When it comes to discussing them it's okay to compare, but I don't think a strict comparison is fair either, something softer is required. Reviews on the other hand fit in with watching. The best remakes don't either try to outdo the original or just copy it; they go their own direction. That's why I like this The Fog too and why it's here. Now about the actual fog. It looks great here, but it doesn't exactly get the same importance. I don't know if it has more screen time or not, but it wasn't as powerful a point of tension. It's kind of like the radio host, there, has its place, but isn't the show runner it could have been.

Mood: obscure.

Music: Fear Of The Dark by Iron Maiden. MP3s

We're All Going to Die Terribly

One of the important parts of planning and running a role-playing game is the same as plotting a novel or writing a script. It is about managing threat levels. Doing this has a cascade effect that impacts pacing, tension, horror--if that is your angle--and mood. Take the ever-popular zombie apocalypse. The threat level is high any time that the characters are out in the world rather than sitting in their safety zones. Even in the safety of their sanctuaries all of the dangers of the old world loom around every corner. A pall hangs over everything because the walking dead dominate the mental landscape as much as the external one. This makes for constant inescapable tension. The dark mood is always an instant away only to be forgotten briefly.

This general look at the threat level of the setting is just that, only an overview. Scaling down to the level of specific encounters the danger presented to the protagonists can only reach a certain pitch. The protagonists must be able to survive--at least until the end, since they can only be killed once. There must be some way out of every situation. Something natural or organic and not forced or contrived. By the same token it should not be a cakewalk either. A balance must be struck. In a game luck can be a factor that brings disastrous results with even the most balance encounter. An author or scriptwriter can bend luck to their will on the other hand, again only in a way that seems genuine. Either way there needs to be room for adjustment.

A threat level system became a part of AD&D recently--in terms of the game's long history--to the joy of some and derision of others. It is a quick and easy way to say this many player characters of this level of power should fight these, these or those. It can be rigid and by the nature of its existence can drain away some of the tension, especially if the players know the Game Master is sticking by it. The player will likely even be familiar enough that they can tell an encounter is safely balanced. This tension draining phenomena can happen even with fiction, and especially scripts for television. Certain characters just aren't going to die. There will be an out to almost any situation that seems hopeless. Some things just are not going to change or come to an end.

Mood: open.

Music: Too Much, Too Soon by Green Day and It ('s A Monster) by Extreme.

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Surmounting Advantages

During the discussion of greatly enhanced healing in fantasy settings there came a question of what will some parties do to combat this advantage in their enemies. This is an important question not just in the circumstance of accelerated healing or of resurrection, but in general, both in gaming and in all fiction. For every advance or advantage there is a considered response to negate it. Those who do not have an advantage will want to copy the advantage for themselves, or barring that steal the other party's source for it. This push and pull, garner or steal, is another basis upon which to build conflict in stories. In gaming it is a consideration that the Game Master must make at every turn to keep the pace, the tension, and promote a surmountable challenge.

There are a few categories of elements that fit this mould. There is durability or immunity to harm, powers that cannot be defended against, normally inescapable circumstances, and overwhelming forces. These can be negated directly or indirectly. Direct negation requires stripping the individual(s) of the power or overwhelming it to the point it is not an issue. Disruption powers come into play or powers that are in opposition to the troubling one. Ice or water is used against fire, mind blocks prevent psychic attack or intrusion, and similar. Particular methods of killing cancel regeneration. Specific disposal of the body prevents it from rising from the dead. Then there are weaknesses built into characters such as deadly allergies to certain materials such as Superman and kryptonite.

Indirect negation can include circumventing the difficulty. Those invulnerable to damage may be suffocated or drowned. Those immune to fire may still be harmed by falling debris caused by a fire. The opponent may be the one that is immune to the character's abilities. All of these put a wrinkle in a game changing element or a power. They can only be used so often and put to smart use without negating the reason for having these capabilities in the setting, or unfairly treating the player of such a character by hobbling them unlike the other players. Tempering these changes to provide threat and tension is only desired in balance and when it enhances the storyline. It may even be better to turn the tables and have the protagonists seeking to deal such powerful foes.

Mood: tired.

Music: Welcome Home (Sanitarium) by Metallica and '39 by Queen.

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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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One Step Around the Corner

Creators of genre fiction do not deal with regular everyday reality.  For example, noir or westerns, both of which could be entirely rooted in the real, will not remain there entirely.  There is some shift to the side.  There are considerations for mood.  There are considerations for genre conventions.  There are even considerations for author bias.  Those biases can take the form of the political, patriotically cloaked, and bigoted type discussed last week.  They can be less inappropriate biases than those too.  Then there are the personal biases formed in the direction of enjoyment and excitement where the creator enhances certain aspects for a better story in keeping with their own wants and desires in entertainment.  The bias may also be theme or message related.

Bigoted bias need not be about race or religion.  Some biases are economic--the rich versus the poor.  Some are intelligence motivated--leaning toward the literati or the cognoscenti and away from the ignorant and uneducated.  Some, perhaps too many, are directly political within the same country--Republican versus Democrat, Liberal versus Conservative, Left versus Right.  There is also the one-sidedness and accompanying struggle between capitalism and socialism.  Any of these, singularly or in tandem, form the basis of numerable character archetypes.  In turn these characters confer their views onto the narrative.  This is true whether one or more of them provide the narrative voice or there is an unrelated narrator.  That is unless that narrator provides voice, comment, or contrast otherwise.

Here is where the bias may be purposeful within the narrative.  A story's theme, or the message it looks to convey to the audience, it's very raison d'etre, can exist to illustrate, shine a bright spotlight on the injustice of such a bias, or to perpetuate it. News media isn't the only place where an agenda is pushed by focusing on certain segments of an issue, or group.  Of course angling to create tension within, distort the worldview of, and otherwise negatively influence the audience is a despicable thing to do.  Doing it within the populace of the created fictional world though is an exciting proposition.  Doing it provides the structure upon which to foster enticing plots, character-developing dilemmas, and at the higher level of the audience to forward themes, morals, and message.

Mood: valiant.

Music: Dream Of Mirrors by Iron Maiden and The Gunslinger by Demons & Wizards.

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Anatomy of a Horror Setting #16: Too Much Information

One of the big deal breakers for the mood of a psychic horror setting is having too much of the right kind of information. It is especially contentious in the arena of role-playing games. It puts a great onus on the game master to, not only develop the information to be gleaned by psychic methods as is the case with authors or scriptwriters, but also to deal in a more hands on way with balancing how much information to pass on and when, notably without the safety net of re-writes. This manner of information handling is directly a result of abilities such as precognition, post-cognition, to a lesser degree remote viewing, and the like. Limitations placed on these powers and the additions of the vagaries of chance are thankfully in keeping with reports of such abilities in the real world.

There is a connection between this idea of too much information and the topic of evidence as discussed previously. A story's psychic who can see the influence of another psychic on a person has a certain amount of comfort that extends not only to the character, but also the audience. The ability as it serves the purpose of pushing the story in a particular direction mitigates its effect on the mood somewhat. In contrast if such an ability were able to identify the psychic responsible then things change drastically. At the level where this power is akin to reading a psychic fingerprint there is too much comfort afforded and the horror is lost. There is some suspense when the fingerprint isn't recognised by the psychic but beyond that it quickly reaches a point of diminishing horrific returns.

Another ability that effects comfort level is the sixth sense that warns a psychic of danger. Again, it has its uses, but can also quickly deflate the horror. The danger sense works best when it is vague. It is also most effective at the far ends of the timescale, but less so in the middle. When the sense comes on quickly with little, to practically no time, to act on it then the urgency and immediacy drives the horror through suspense. Likewise, if the warning arrives well ahead of the trigger event then tension builds and dread mounts until it is resolved. Of course that ratcheting tension and the swell of foreboding needs to be cultivated with a certain amount of finesse. All of this simply highlights two old adages; knowledge is power, and all good things in moderation.

Mood: lustre.
Music: F.I.N.E. by Aerosmith and Pump by Quiet Riot.

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