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saw a poll about whether you prefer corruption or redemption arcs and i realized that for me it's not really either, it's a distillation arc: when a character becomes the most intense version of what they could be, everything inessential falling away or being discarded so that only the core remains.
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a character type i'm really into is the ex-something - exile, obviously, but also anyone who used to have a role that was also an identity and now does not: ex-mage, ex-assassin, ex-monarch --
it's about loss of identity and recreation of identity; it's about how being an ex-something is impossible because the ghost of what you were haunts what you are now; it's about reshaping the way you see the world and yourself in the world.
the hottest thing a hero can do is be completely doomed from the start & know it & keep going <3
the thing i always want Weird, Isolated Town media to be about is the Closed System:
the Weird, Isolated Town is like a terrarium, the entrances and exits sealed & everything functioning cyclically and self-sufficiently. its systems make perfect sense to the inhabitants, but to the Invader or Observer, they're alien and incomprehensible. can the Closed System withstand or incorporate the pin-prick hole created by the single visitor, or will it implode?
narratively i don't have a lot of fun with "broken and wants or needs to be fixed" but i DO have a lot of fun with "broken and has reforged themself into something....stronger"
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a trope i really like is "[really prominent person] didn't look like [a monarch/the subtlest mage in the world/a great swordwielder] until they [did something subtle that revealed how cool they were]." i just think it's neat.
look. i just like it when a character who sucks completely as a person does something unbearably noble and/or sublime with their death.
there's a kind of scene where a character with a bad reputation is in disguise & people around them are talking about how much they hate them (Guinevere in the convent in Tennyson; Helen in Egypt in Euripides' Helen) but you're not like that, they turn and say,
and i always love it because, well, because i always love some good dramatic irony but also because there's somthing so close to the bone there:
you know what my image is. but now you've met me. you like me. you think i'm good. you'll continue to like me, to think that i'm good, even after you know that i am my image, won't you?
won't you?
