Giancarlo Volpe

These

Tables

Are

So

Freakin

GOOD!

In the West, plot is commonly thought to revolve around conflict: a confrontation between two or more elements, in which one ultimately dominates the other. The standard three- and five-act plot structures–which permeate Western media–have conflict written into their very foundations. A “problem” appears near the end of the first act; and, in the second act, the conflict generated by this problem takes center stage. Conflict is used to create reader involvement even by many post-modern writers, whose work otherwise defies traditional structure.

The necessity of conflict is preached as a kind of dogma by contemporary writers’ workshops and Internet “guides” to writing. A plot without conflict is considered dull; some even go so far as to call it impossible. This has influenced not only fiction, but writing in general–arguably even philosophy. Yet, is there any truth to this belief? Does plot necessarily hinge on conflict? No. Such claims are a product of the West’s insularity. For countless centuries, Chinese and Japanese writers have used a plot structure that does not have conflict “built in”, so to speak. Rather, it relies on exposition and contrast to generate interest. This structure is known as kishōtenketsu.

I’m on twitter now,I’ll be posting more often there.

Spider-Man: Into the Spider-Verse ( art dump part ¼ )

ocean of lily pads

“Give me your house, give me your things, I’m in your head, I’m in your dreams, I want your face, I want your skin, I want your name, I want to live, I want everything You know that I’m the worst”