#main point

What it feels like at that moment-

I think you're right that good art has something to say and communicates it well. That's certainly true of every story I've ever loved.

But while I love inventing fantasy worlds, you've made me realize I've never actually planned to say anything with them.

I've got lots of opinions, lots of beliefs, lots of stuff to say, but now that I realize I need to, it's been hard to pick one of those to be the core point of a story.

the trouble is, the dominant writing advice I saw online was the opposite. that stories made for the purpose of communicating a message or promoting something just turn into preachy propaganda, so the best way to make a good story (that, dare I invoke the curse, appealed to a wider audience) was to muddy it so you could take away as many interpretations from it as possible. thus most of the material I've given myself to work with has been slightly poisoned.

I really like how you said all of that! I agree with your assessment of the advice most people give.

Here's how I do it:

A loose concept, like a disgraced knight falling in love with the King's head of staff who's come to live in the village he's hiding in, will pop into my brain. I'll like the concept. I'll imagine one or two interactions between them that I just like.

But when it comes time to write anything down, even just for my own notes—then it's time to find a message. And usually that's not hard, or at least, that's not disingenuous, because:

what I believe, my worldview, was already subliminally shaping the things that I liked.

So then as I go to write down the names, the histories, the plot points, of my fun little knight love story idea, I find that something kind of...readily fits them.

But now here's the catch; it really helps to know what you believe, and to feel strongly about it, for all of that to come as naturally as possible.

About Propaganda "versus" Stories:

It's a lie to say that something which is created to say something is always propaganda, and something which is created with no careful point thought out is always art. Silly thing to believe. It's like saying "all words are propaganda." No, all words are communication. It's not our fault they don't like that we know what we want to say, and we want them to understand it clearly.

I mean. All art is propaganda, if by "propaganda" or "preachy" you mean, "I tried to take what was going on in my head & heart and put it in your head & heart." All art, all storytelling, is that. Otherwise you'd just keep what you think and feel bouncing around in your own brain, instead of doing anything outward (writing, drawing, painting, singing, speaking, reacting with your body language) with it.

I think what people are getting at when they say "avoid being preachy" or "that's not art, it's propaganda" is "you weren't being genuine." And that can be true. Sometimes people can tack a meaning onto a movie or a story where it doesn't fit because they either a) don't believe that strongly in the thing themselves, but everyone around them was clamoring for it or b) they were lazy and didn't do the work to make the story fit, genuinely, with the message, in a way that enhances and makes the message winsome.

But as bad as those two mistakes are, neither of them prove that intending to say something with your story, very carefully and genuinely, that you don't want misinterpreted, is somehow a bad thing.

Look at the fairy tales that the Brothers' Grimm collected. Look at any stories from the time before commercialism: Our oldest stories combined genuine enjoyment with the virtues and meanings that made enjoyment possible/worthwhile.

Anyway. I have a feeling you agree with me already about this so I'll hop down off that soap box.

What Comes First: Having Fun Making What You Like, or Choosing Something to Say?

I don't think it is wrong to tell a story that...you didn't have an intended thesis written down for. I think people like J.R.R. Tolkien and Walter Elias Disney prove that. But the thing is, what they believed got infused into their storytelling, because of course it did. It can't help it. When you want the audience to like your lead character, you make her likeable—but the traits you think are likeable are informed by something.

Snow White is innocent and pure because Walt Disney naturally considered those things beautiful and good and worth liking. He probably didn't even think to write it down and revolve everything around it: it just came out that way.

Frodo is a little scholar, and willing to soldier on with what little he can do, despite his lack of experience, because those are character traits Tolkien felt were good and likeable. Why? Because deep down, in his worldview, he believes being book-smart and doing what you can with what you have is valuable. And that just...comes out, much like his valuing of history, in the thing he creates.

Now, if they didn't know what they believed--or if they were insecure people "blown about by every wind of false doctrine" that comes their way--or if they were focused more on satisfying what the largest number of people liked--they wouldn't have been able to infuse the story with any genuine meaning, planned-out or natural.

That's what I think.

I think it's all a matter of loving what's good and true. Training your affections, so that you care most about things that are worth caring about—the things you feel most strongly about in characters will be the things you feel most strongly about in life. I love Stitch because I love redemption. Not primarily because I love sci-fi characters, the color blue, or the blend of ugly-and-cute—even though I do like those things on a more minor scale. See?

But if you've trained your affections for junk food—you feel most strongly appreciative of characters that are hot, or spout off funny one-liners, or come onscreen to cool music—then that's what will naturally come up in your own storytelling.

There's also nothing wrong with doing it the other way; saying you want to teach a certain lesson, and then coming up with characters and settings to fit that lesson. Coming at it from that direction is just as valid—as long as you put in the work, and care more about that lesson you genuinely believe in than you do what other people think.

Anyway,

To Write Your Own Main Point/Thesis/Armature/Theme

When it’s time to start writing anything down, it’s time to figure out the main point, and that’s when I...typically think about what I'd want to teach the kids I'm around, to be honest.

With my disgraced-knight love story, I go "what is it he loves about the girl, in all those vague vibe-y scenes I’ve been picturing?" And I make the connection between her virtuous character traits to what I want him, the main character, to learn.

So for example, she used to live in the palace, working for the King, but she was humble enough to give all that up and live in a no-name town to take care of her stepfather. He's disgraced and doesn't want anyone to know who he is—well, that's a pride issue, totally the opposite of how humble his love interest is. And why’s she humble? Because she’s not focused on herself. She doesn’t care about her own reputation or status. So then I just reverse engineer that: the point of the story is "Live in the King's name, not your own." Now one of the two main characters embodies that—the other has to learn it, and the story is the obstacle course he’s pushed through to get there.

I wasn't consciously thinking about making her the king's former head of staff, or him disgraced, when I first came up with the vague concept of the story, see? I just liked the "vibe" of a hopeless dude suddenly seeing a ray of light in the "vibe" of a girl from poor circumstances who seems happy regardless of them. I liked that "vibe." Then I traced what I liked about the vibe back to something that is true and worth teaching or appreciating in real life.

I’m in a job I don’t love right now, and it could make me miserable, but if I just remember “in everything you do, whether in word or in deed, do for the glory of the Lord,” then my focus isn’t on myself and I have joy and hope. And that hope can be used to point others, around me, to hope, too. So I’m not “preaching” something disingenuous; I’m living it, because this is what I believe, so no wonder it’s also leaking it’s way into my story. I just happen to be creating a pipe so that the leak flows more smoothly, which can only help, in the long run.

But I’ve done it other ways, too. Once I watched kind of from afar as a friend’s family fell apart. I felt like, from the outside, I could see where one of my friends was hurting and what they needed to accept (from the Bible) to move forward, but I wasn’t in a position to say it to my friend directly. Then I figured, “if my one friend is going through this situation, others probably are too, and this lesson from the Bible is universal anyway” so I…made up an analogy for the way their family fell apart, then came up with an ending that taught the “family” in the analogy the lesson I got from the Bible. So for that, you can see how I first came up with the main point, then built up characters and a world and a story to fit around it.

Both ways work, the chicken or the egg first. But they only work if you are committed to working hard and serving others with your story, not committed to being popular or “only making what YOU like.”

Love you!

Well it all depends on the person looking I would say. Someone who is a bigot and likes these games would deny that any of them look queer. Others might say a character is horribly drawn if they aren't sexualized. And then some people sees a "bad" character design (one that seems to be universally hated) and still love it to bits.

However, I do think that a large portion of the eccentric-ism of each game, in both design form and storytelling form, is a huge factor of why "less normal" people like these games (so people who aren't cishet or neurotypical). Both games really play with shapes and colors along with darker topics (even if it's just implied). So already there will be a disproportionate amount of "not normal" people already in these fandom spaces.

That alone counts for a large portion of people seeing these characters as queer, which can affect the media as a whole as people who look up fanart/fic of these games are now seeing more queer headcanons or art that shows off things they didn't realize were subtly implied or referenced to in the game.

But also, with in-game reasons, I would say Psychonauts having a canonically gay couple does help make other characters look queer, or at least accepting of queerness (which helps people see those characters as some flavor of queer even if it's not fully implied or something). Then there's the fact that those games talk about mental illness, healing, getting support from your family, love, all things that a lot of queer and neurodivergent people want in media without it being made a joke or villainized. (Plus the added angst is something that really helps people connect and possibly project onto characters).

Similar reasons for NSR, where the game kinda promotes shipping in the sense of Sayu talking about love and May with 1010 (and all the retweets and shares from Metronomik being cool with ships) so already there will be people who ship queer relationships, which then get promoted by the game company, leading people to see this as a soft canon. And even though I think Eve is the only confirmed queer person (She's demisexual, but correct me if i'm wrong about the others being or not confirmed) there are still a lot of queer coding in these characters (one being Neon afraid to dance/not liking his body and wanting to make 1010 look more masculine, which can be seen as trans-coded, at least to me).

The story itself of NSR is also something that resonates with queer and neurodivergent people. It is about overcoming an oppressor, making amends with friends and family, learning how to communicate, dealing with mental illness as well. The story itself is a big factor of people liking this game, since gameplay can be lacking at times. The characters have depth but also allow for a LOT of manipulation in their story and behavior as they are not as fleshed out compared to like Psychonaut characters.

I am starting to lose focus. I probably have more to say about NSR but I'm gonna go into the design/visuals for now.

Design wise, the characters are unique. Psychonauts plays around with shapes really well, especially when constructing hair and facial proportions. And NSR, though a bit standard in how it presents bodies, still has unique silhouettes and character designs (especially with DJ and Mama), not to mention the colors are vibrant and not natural (psychonauts tries to stick in a more "realistic" color palette at least in the real world but still plays around with their colors).

So like, the attractiveness/top teir character design, comes from strong and unique proportions along with cohesive color design. Shape theory is also a really good thing that goes into character design. Like my favorite thing about NSR is how physically different Eve is, even though she is a human (supposedly) she is built differently to show how she feels like an outcast. And then you have characters like Helmut who, even though still fits in with the rest of the cast, is extremely big but still shows off how soft he can be instead of being intimidating with his size (also love the fact that he's probably the biggest extrovert and still has anxiety/panic attacks).

Even just the color of the characters is important. 1010 have super bright and saturated colors to them, but only one color each and black and white covers most of their body to give breathing room to their designs. As Sayu's phases progress, more and more colors appear, but all the colors are complimenting each other instead of fighting for dominance.

Looking just at Helmut, both mental world and character design. Lots of colors and shapes are being used, but nothing is fighting for dominance a lot of the time. You are still able to see where you need to go most of the time in the game, and Helmut's design has a breathing room for the eyes to rest on (such as the black of his coat and his face area).

I WANT YOU

The guilty undertaker sighs,

The lonesome organ grinder cries,

The silver saxophones say I should refuse you.

The cracked bells and washed-out horns

Blow into my face with scorn,

But it's not that way,

I wasn't born to lose you.

I want you, I want you,

I want you so bad, Honey, I want you.

The drunken politician leaps

Upon the street where mothers weep

And the saviors who are fast asleep,

They wait for you.

And I wait for them to interrupt

Me drinkin' from my broken cup

And ask me to Open up the gate for you.

I want you, I want you,

I want you so bad,

Honey, I want you.

Now all my fathers, they've gone down

True love they've been without it.

But all their daughters put me down

'Cause I don't think about it.

Well, I return to the Queen of Spades

And talk with my chambermaid.

She knows that I'm not afraid

To look at her.

She is good to me

And there's nothing she doesn't see.

She knows where I'd like to be

But it doesn't matter. I want you, I want you,

I want you so bad,

Honey, I want you.

Now your dancing child with his Chinese suit,

He spoke to me, I took his flute.

No, I wasn't very cute to him,

Was I?

But I did it, though, because he lied

Because he took you for a ride

And because time was on his side

And because I . . . I want you, I want you,

I want you so bad,

Honey, I want you.

TI VOGLIO

Il becchino colpevole sospira

lo spremi aranci solitario grida

i sassofoni d'argento dicono che io dovrei rifiutarti

le campane incrinate i corni sbiaditi

mi soffiano in faccia con disprezzo

ma non è questo il modo giusto

non sono nato per perderti

ti voglio, ti voglio,

ti voglio così tanto,

dolcezza ti voglio

Il politicante ubriaco fa un salto

sulla strada dove le madri piangono

e i salvatori, immersi in un sonno profondo

aspettano te

e io aspetto che interrompano

il mio bere da questa tazza rotta

e mi chiedano

di spalancare i cancelli per te

ti voglio, ti voglio,

ti voglio così tanto,

dolcezza ti voglio

Ora tutti i miei padri sono finiti sotto terra

il vero amore non l'hanno mai conosciuto

ma tutte le loro figlie mi hanno disprezzato

perché io non ci penso

Bene, ritorno dalla regina di picche

e parlo con la mia cameriera d'albergo

lei sa che non ho paura

di guardarla

è buona con me

e non c'è niente che lei non veda

sa dove io vorrei essere

ma non importa

ti voglio, ti voglio,

ti voglio così tanto,

dolcezza ti voglio

Ora il tuo bambino danzante con la veste cinese

mi ha parlato e io gli ho preso il suo flauto

no, non sono stato molto carino con lui,

vero?

ma l'ho fatto perché ha mentito

perché ti ha portato a fare un giro

e perché il tempo era dalla sua parte

e perché io...

ti voglio, ti voglio,

ti voglio così tanto,

mister scott moir,, literally has said that it has been the honor of his life (think about that ppl!!) to skate with miss tessa virtue. they’re always gonna love each other,, and idk,, maybe sometimes it’s just harder to erase 20 years of friendship than a couple years of relationship. there is a reason why people say that sometimes friend break up hurt more than a romantic break up.

anyways,, if whatever i wrote up there doesn’t make sense, my point is,