Oedipus is introduced at the outset of his story as a well-meaning king of Thebes. Not all is well in Thebes, though, the city has been cursed with a plague. Oedipus seeks guidance from the Oracle for how to dispel this plague, and she tells him it is a punishment for a imbalance of justice in the city. As she points out, the prior king’s murderer was never found or punished, and so the curse will remain until he is.
Anxious to bring relief to his people, Oedipus vows to track down this killer and bring him to justice. He relentlessly pursues the fiend…which makes things rather awkward when he discovers that he, himself is the perpetrator! Years ago he killed the king in a scuffle, believing the man to be someone else.
The irony does not end here though.
As it turns out, the king Oedipus killed is actually his own father. Why did Oedipus not recognize the man he fought as either his father or the king? Well, because his father tried to have Oedipus killed as an infant, after the Oracle predicted that the son would one day destroy him. Instead, Oedipus was left alone in the wild, until a husband and wife passed by and adopted him.
Thus the father set in motion the vehicle of his own destruction, and Oedipus’s sin of patricide, even if performed ignorantly, condemns the son as well. It is a tragic tale, but also a very balanced one. Characters do wrong things, and retribution finds them in a very poetic manner. It turns out that audiences greatly enjoy stories with this sort of balance. Whether or not they believe in karma for the real world, people tend to like it in their stories.
In my story, It’s Tough to Be a God, the main character has discovered a tool that permits him to create anything that he wishes. He does not appreciate the solemn responsibility that such power requires, though, and in a moment of foolishness, constructs two creatures for the sole pleasure of watching them fight to the death. He regrets that decision, and does not repeat it…but also he has not payed for that sin. As such, I feel the story lacks a cathartic balance, which I intend to correct in the next half of the story.
But balance, karma, and catharsis are not only about punishing characters in a story.
An essential element in most stories is character development, and often a story seeks to prove to the reader that the character is different at the end from how they were at the beginning. An excellent way to show this comparison is to have the character possess a flaw earlier in the story, and by it set in motion the karma that will destroy them at the end. Just as with Oedipus. But then a twist comes, because by the time we reach the end our hero has changed. They are no longer the same person that they were at the beginning, and they no longer possess the flaw that created the karmic demon. So they defeat it instead, freed from the past by having overcome it.
An excellent example of this sort of tale is the Disney animated film Aladdin. In this, the titular character discovers an object of immense power: a genie that will grant him three wishes. Aladdin squanders his first wish in selfish pursuit. He tries to achieve the life that he has always dreamed of. His second wish is burned in a moment of sudden danger. Then Aladdin decides to walk back on a promise he made to the genie, that he would free him with his third and final wish.
As Aladdin explains, if he frees the genie, then he loses his power. All of the façade he has carefully built up will be torn down, and he isn’t willing to lose control over his fate. This unwillingness to surrender control is Aladdin’s fatal flaw. Because of it, he leaves the door open for a new character to take power. Jafar steals the lamp, and like Aladdin, spends his first two wishes reaching for greater and greater power. Aladdin seeks to stop him, but he isn’t just facing a Sorcerer Sultan Jafar, he is facing the undeniable power of his own karmic justice. If this were Oedipus, Aladdin would now be destroyed for having been selfish before.
But then the twist comes. Aladdin knows Jafar’s weakness because it was his own weakness as well: insecurity. He knows that Jafar’s power is propped up only by the genie, and that Jafar’s greatest fear, like his, would be to lose control over that power. And so he appeals to that fear, and taunts Jafar. He points out that so long as the genie gave Jafar his power, he will always be able to take it away. Jafar takes the bait, and wishes to be made into a genie himself, unaware that the power he receives will be counterbalanced by eternal imprisonment. His karma catches up to him.
Aladdin defeats Jafar, but really he is defeating his own former self. And so, his first action upon gaining control of the original genie is to grant him the freedom he had promised. He is no longer required to pay for his crimes, because he isn’t a criminal anymore.
Scales of Justice)
As a reader, we require our stories to give us catharsis and balance. Subconsciously we are weighing the scales, silently waiting for each imbalance to be righted. But while we demand fulfillment, we are not so demanding as to how exactly it is delivered. Sometimes the sinner will pay for his own sins. Sometimes he might repent, and another sinner is tricked into paying for him. Sometimes a sacrificial lamb covers the cost. Just so long as the cost is paid, the story satisfies us.
Quite honestly I’m still trying to figure out how to make the balance work in It’s Tough to Be a God. I can feel that it isn’t there yet, and I will keep mulling it over until I find the right balance. I haven’t quite decided who must pay the price for Jeret’s wrongs in the end.
What I have decided, though, is in which form the karmic demons will arise. In my next post we will see how Jeret, by his own hand, has created the forces that seek to destroy him. Come back on Thursday to meet this specter of justice!
A literary hero usually changes over the course of their story. That probably isn’t a new idea to you. In fact, I have already discussed how the heavy use of adventure in many stories is usually an allegory for how we wish to change in real life. I have also discussed how stories capture our yearning to become our best selves.
In other words, there are things that we cannot do right now that we wish we could. And we hope that one day we might become the person who can do them. For today I’d like to take a closer look at that gap, and how stories establish how what the hero accomplishes at the end, would have been impossible for them to fulfill at the beginning.
Of course, not all stories are this way, there are always exceptions. A comforting pleasure of many serials is to return to the familiarity of characters who are exactly the same as when you last left them. Sherlock Holmes is an excellent example of this.
Right from the beginning, Shelock is already at his optimal level of skill and he can already crack the toughest of cases. He has no development necessary. We enjoy spending time in the presence of such a marvel, and each return to his flat is as cozy as it is exciting. And so things continue, from one rollicking adventure into the next, Holmes all the while incapable of being defeated by another.
That is, of course, until he is.
In what was meant to be the conclusive episode, Sherlock finds himself locked in a battle of wits with his nemesis, Professor Moriarty. Though Holmes has made the occasional misjudgment in the past, he has never lapsed in a moment that presented any actual danger. Now, though, for the first time, both his and Watson’s life are in very real jeopardy.
He is upset at himself for having compromised Watson’s safety, and so when an opportunity arises for Watson to escape, Holmes insists upon it…even though he knows it lessens his chances of emerging from the following struggle alive. Like a chess player that has lost the necessary pieces to win, Holmes is playing only for the stalemate. That is exactly what happens as he and Moriarty meet another by a waterfall and plummet to their mutual doom together.
Frankly an ending like this seems impossible from the beginning of the Sherlock Holmes mysteries. So much time is spent establishing how flawless his mind is, so that anything less than a total triumph would have felt incomprehensible. And without a doubt, if the case of Moriarty had come up at that time, Holmes would have won the contest outright, because he was incapable of being incapable at that time.
But over the course of time, Sherlock became more like the rest of us. He has moments of warmth and consideration, sweet episodes that gradually make him a human being, instead of just a calculating machine. He is like a god, turned mortal through prolonged association with them. It is a transformation that is so subtle that we may not realize it is even occurring, right up until we read the shocking conclusion…and after a moment’s consideration decide that we are okay with it.
There another example of this sort of transformation in the film Minority Report. Here we are introduced to John Anderton, a police chief who lives in a future that has virtually eradicated murder. This is accomplished by use of premonitions that identify the crimes before they are committed, allowing would-be perpetrators to be arrested before they actually commit the act.
Of course things take an unexpected turn when the next premonition comes in, stating that John Anderton himself is going to commit a murder in thirty-six hours. His victim is a complete stranger, and the accusation seems entirely improbable. He simply is not the sort of person who could do such a thing. As such, he resists arrest and sets out on a mission to clear his name.
As we follow his exploits, we learn that he is carrying some deep wounds from his past, ones that have reduced his life to a hollow husk of the joy it once held. In time we learn that the man John is predicted to murder is unexpectedly connected to that past, and is directly responsible for all of his old wounds. Just like that, what had before seemed impossible becomes entirely probable. John, himself, asserts that he is going to kill this man.
But then he doesn’t. When the predestined moment arrives, John exercises his freedom to choose, and decides to not become a killer. And so what has up to this moment been presented as impossible: that the murder-sensing premonitions could be wrong, is now known to be possible.
Too often character development is shoehorned into a story because the writer believes it is supposed to be there. It is a season that is added as an afterthought, rather than as a core element. These stories, though, are ones where the change was absolutely fundamental to the narrative being told. There simply was no story without them.
In my latest short story, I have introduced a man that has happened across a curiosity. He has gained the power to create whatever it is he wishes. While that is an interesting premise, an interesting premise is not a story. I have only included the curious power because it is also a vehicle for his change, which change is the real point of the entire tale. Like Moriarty to Holmes and the premonition to John Anderton, the my character’s discovery of this creative power is a catalyst to help him become the person he must be. Help him become the person that he is not now. Help him do the things that he cannot now. Come back on Thursday as we push closer to this evolution.
I am on the cusp of completing my story: The Toymaker. In it a small drummer toy is born to life, and then sent to find a mystical city. Along the way he makes a friend in another toy, a dancing ballerina. Unfortunately, the two are divided from one another when the dancer is kidnapped, and taken into a grimy town full of dirty hovels. The drummer charges in pursuit, but is further waylaid as one toy after another takes advantage of him. He become dirty and cracked, and even his innocent demeanor slowly becomes more desperate and angry. Almost he loses himself, but stops just short of doing so. In that same moment he discovers a strange connection that he has with some divine power, and by it is finally led back to the dancer that he has been searching for.
There is, of course, one or two more sentences to that outline, but I’ll leave it off so that you can see it for yourself this Thursday. It is very strange for me to read that synopsis, though, because it is absolutely nothing like the one that I started off with!
Whenever I get an idea for a story, I open up a text editor and get it down in as much detail as possible. Usually the idea is so small that it only fills out one paragraph, but I hope to transfer enough information that I can remember the heart of it for later development.
One night, I was making up a bedtime story for my son about a toy factory. As I spoke to him, my mind suggested to me a different plot. After the bedtime ritual was finished, and I left his room, this is the brief outline that I wrote down:
The Toy Factory. Idea of a man building a world, bit-by-bit giving it greater abilities and rules. Eventually a rebellion breaks out amongst it, and he himself is lost within its depths. Perhaps he has forgotten who he is, or was created in toy form by his own creations, and so his consciousness has been transposed to that toy and he needs to remember his original identity.
The Castle-God. Some character has created a people and a world, little machinations that he kept around him, and which presently moved out to pursue their own ambitions. Now he still lives in that same castle, but forgotten and lonely in its massive halls. The character could be rediscovered, many generations later, having been fashioning a new set of creations all this time, ones to destroy the first.
So, as you can see, I was already of two minds about which direction this story could go, but in each rendition I had this idea of a creator regretting his creation. A godlike character whose subjects have all gone astray, and who is later tempted to use his powers to abandon or destroy them.
While working on this blog I shared an entry about responsibility, and I mentioned how Victor Frankenstein regretted the monstrosity he created, and sought to destroy it. I realized that this was very similar to my Toy Factory/Castle-God stories, and decided to expand on it with that theme. So I married the two together: the Toymaker would be refashioned as a mortal within the world of his own creation, would rediscover his omnipotent identity, and then would decide what responsibility he had to his subjects: either to spare them or create an army to destroy them.
And then, to this, I decided to add one more wrinkle. Wouldn’t it be interesting if the story started with him already in mortal form? That way his rediscovery of his divine identity would be as much of a surprise to the reader as to himself.
Things Go Awry)
Sometimes stories don’t follow their plotlines though. I started off with a simple introduction, one where I introduced the world of the toys, and explained how they began as inanimate objects that gradually gained self-awareness. I emphasized that fact, by having the drummer (who would later be revealed to be the creator) witness another toy, a ballerina dancer, come to life.
But now that I had created this second character, I felt that I had to do something with her. I made her his companion on his initial journey, and the two played off of one another quite nicely. I came up with ways that they supported and depended on one another, quickly making the two of them feel “right” together.
The thing is, up until now I had just been meandering about freely to get the feel of the world, but now I realized this dancer was taking up such a large percentage of the opening that she had to be a main character now. I wanted to start pushing the plot forward by showing how despicable the created world had become, and the most obvious way to do that was by having these two innocent companions ripped apart. It worked well, but now it only further cemented this random side-character, the dancer, as the main catalyst for our drummer’s journey.
Now the moment where imbalance occurs is with the loss of that dancer, so every reader naturally assumes the story will right itself with their triumphant reunion. I had created an expectation, and I couldn’t just shirk that.
The Story Fights Back)
Alright, fine, I thought, he goes and he gets her back, but then the story progresses as normal. But every time I tried to write their reunion it felt wrong. It was just too quick, too easy. I kept writing about him almost reaching her, but each time I had to pull the rug out from under him at the last moment. This was because I had written it so that the dancer was everything to that poor drummer. The quest to regain her needed to be appropriately epic.
Unless she died? I thought maybe this could be what compels him to find his powers and condemn the world. Just as he’s about to reach her she’ll be irrevocably broken and that will make him snap.
But where, then, is the responsibility? This isn’t a creator accepting the burden of his creation going astray anymore, this is an angry tyrant exacting terrible vengeance. Not what I was going for at all.
One solution might have been to go back to the start and take her out entirely, but I didn’t like that. She had emerged naturally and organically, and I liked her being in the story. Quite frankly I had become personally invested in her arc, and really wanted to see where it would land.
And so, it was in this very problem that I also found my solution. Her becoming broken and him going into a rage was not going to serve a story about a god’s responsibility to his people, but it her being broken would serve a story about a little drummer’s responsibility to the toy that he loves.
The story had not been stalling on its first chapter, rather it had turned that first chapter into the entire story. It isn’t the story of how he regains boundless power, it is the story of how he makes amends to the dancer he could not save.
Maybe the bigger story still exists, but if so it is a tale for another time. With that in mind, I knew how I needed to close things. Only after great effort, after nearly losing himself but then calling himself back, only then would he be ready to rejoin the dancer. And in that moment, he would find her broken.
Not only broken, though, but angry. Angry at the world, angry at herself, and angry at him. The climax of the story will be how he hears that anger, and how he takes responsibility for it. I like this approach quite a lot, and I am excited to share it with you on Thursday. Then, at long last, we will be on to something new.
In a previous post I discussed the matter of giving the reader and the main character different amounts of information. In most stories the reader and main character share the exact same knowledge base, and have roughly the same intelligence as one another. This creates a very comfortable sync, and reduces the friction in adopting a fictional perspective.
But sometimes you do not want your story to be comfortable, sometimes you want the reader to feel friction. An excellent way to accomplish this is by providing the audience with more information than the main character.
This is done very cleverly in Wait Until Dark. In this suspenseful thriller, three criminals are trying to trick an innocent, blind lady into giving them a doll that has been stuffed with cocaine. They attempt this by all manner of manipulation, each of them posing as a different character in a wildly convoluted facade. One of them plays the part of a sympathetic friend, another as a police detective who accuses her husband of infidelity, and the third as an unhinged menace that threatens her with violence. They work at her from each side, and though she is clever she literally cannot see through all of their deceit.
Most notable is a scene where she discovers the missing doll and excitedly calls the “sympathetic friend,” telling him that she has found it and needs him to come over straight away to help her dispose of it. Of course, the audience already knows that he is one of the villains, and so we cringe and say “No, don’t call him! You’re setting yourself up!” It’s not that she’s foolish, it’s just that she’s ignorant while we are not.
In Dial M For Murder the audience knows from the outset who the real murderer is, and therefore watches in agony as all the evidence instead condemns an innocent woman. Rope also reveals its secrets right from the outset, so that the audience feels the constant suspense of an undiscovered body laying just out of sight. In Psycho we watch in dread anticipation as the detective enters the house that we already know houses a lunatic killer.
Poor, Naive Fools)
It is not always necessary to divide the information given to the audience and the main character, though. Another approach is for the main character to be naive, and therefore incapable of processing their situation as clearly as the audience will. This was my approach on Thursday. Here a naive toy drummer is taken advantage of by some unsavory types. That he is being taken advantage of is painfully obvious, but he never clues in on it. We’ll have to cut him some slack, though, in the story he literally was born just yesterday!
And so the audience cringes as he willfully puts his faith in the wrong people. Each step that he thinks is getting him closer to his goal, is actually taking him farther away.
I’ll be honest, it was hard for me to write these sequences. Just like the audience, my gut desire is for him to see through the deception and do the right thing. In fact when I first started writing stories in my teenage years that was exactly what happened. The heroes did the first exact right thing, then the next exact right thing, and then the next and the next, and then they had won and the story was over.
And you know what? They were very boring stories. And so while I wish the drummer could be a bit brighter, he can’t be. He has to be duped and go to where the story needs him to go.
At least he won’t be alone in his follies, though. Along the way he’ll have the company of all the many other literary characters who have been fooled by cunning villains. Consider, for example, Disney’s film depiction of Pinocchio, which directly inspired this tale of my little drummer.
In this movie Pinocchio is also a newly fashioned toy, and also one that lacks any street smarts whatsoever. A cat and fox convince him to leave school in search of fun. A puppet master promises him fame and wealth, while really only exploiting Pinocchio. Later Pinocchio falls in with a gang of lawless boys, and nearly loses his own humanity as a result. And once again, through the entire film, the audience knows that Pinocchio is making the wrong choices, but he simply doesn’t have the experience to recognize it himself.
Not all naivete is so dour, though. On the opposite end of the spectrum is Huckleberry Finn. This, too, is a young and uneducated boy, one who does not understand the deeper things that the reader does. A great moment in his story comes when he considers the plight of his friend Jim, who is a runaway slave trying to gain his freedom. Finn has grown up in the South, and has been taught that it is not only illegal to help a runaway slave, it is immoral. Though it causes him great consternation, Huckleberry Finn ultimately resolves to help his friend, even though he believes it will damn him to hell to do so.
Of course Mark Twain intends for the audience to see the matter quite differently. Readers will understand that Huckleberry Finn is actually doing a good and honest thing, and that he is cleansing his soul, rather than dirtying it.
Stories that rely on these different levels of understanding between reader and character provide two narratives at once. First there is the plain and simple story of the character: Pinocchio faces great adversity in his quest to become a real boy, Huckleberry Finn has grave misgivings, but still helps his friend. But beyond this there is also a meta-examination of the experience that is occurring. The author and the audience are having a conversation on the subject matter even as it is happening.
Is a child such as Pinocchio guilty, if all his follies are made in ignorance? Does he deserve to be punished for wrong if he does not know it is wrong? Whether deserved or not, the world does punish the gullible. So what dangers await our children if they are left so uneducated and naive?
How can a social climate be used to make those like Huckleberry Finn cross good for bad, and bad for good? Do we rely too much on arguments and laws and reasons, when really all we ought to do is follow our own conscience?
A common theme of these meta-narratives is that our society has corrupted the innocent. We ought to be able to live entirely naive and trusting, and not be taken advantage for it. We ought to be able to live purely from our conscience, and not be conflicted for so doing. Maybe that isn’t how life is, but it is how it should be.
In Toymaker I have endeavored to weave both of these themes into the story. In Thursday’s post we saw our innocent drummer tricked by other devious characters, and we feel that he shouldn’t have been. We saw his conscience trying to warn him about their wiles, but he was compelled to sideline it, and he shouldn’t have. So no, he shouldn’t be in this situation, but he is, and now he will have to deal with it. And all these messages and all the tension are able to come through by simply letting the audience understand more than the character does.
In my next post we’ll see our naive fool beginning to see through his follies. He’ll start to recognize that there are those that are trustworthy and those that are not. He’ll even find a new friend to help him live more shrewdly. Come back on Thursday to see how it goes.
At the end of my last story I teased the fact that I used a character’s name to imbue the story with an extra dose of personality. What I meant by this was that almost no one ever refers to the main character by name. He is known primarily as “my father” and later on as “Pa.”
There are only two times where the character is actually named, and both times it is said by his wife. I thought it was a nice touch to show a sort of reverence for the man. As if all the world is too in awe to call him by name except for the woman he loves. The story never spells out this detail, and I would imagine the wrinkle won’t even be consciously noticed by most readers.
My hope, however, is that the reader’s subconscious will pick up on it, and view the man with greater respect without even knowing why. Whether this attempt of mine actually worked or not is probably impossible to test, but it was a fun way to add more depth to the story nonetheless.
Little quirks like these show up in stories all the time. In the 2011 film Warrior, Paddy Conlon is frequently seen listening to Moby Dick on audio-cassette. It is emblematic of his character’s own personal chase, one to regain the hearts of his sons. Also it draws a parallel between Paddy and the character Captain Ahab, as both have chased their demons too far, perhaps to their own demise. None of these similarities are ever spelled out explicitly, they are just picked up on naturally by the viewer. It makes the Paddy’s character all the more rich and evocative just by lingering in the background.
Each of my tales in this latest series of stories has featured examples of these character wrinkles. I’ve already mentioned the one from Does What He Must, but now let’s take a look at the others.
In I Hated You, Jimmy my distinguishing characteristic was a little different. It was selected primarily for a more functional reason. Throughout that piece our narrator is describing to us events that are now years in past, and ones that he has made his peace with. Or at least it would seem that he has, except for how he becomes lost in the emotions of the moments he is recounting, even going so far as to make a particularly cold comment about the death of a school bully at one point.
My intention here was not to make our narrator a contradicting character, or to suggest that the peace he claims to have found was false. Instead I am merely trying to lend the emotion that fits for that particular moment of the story. I didn’t want my character to talk about the angry years of his youth with a sober, mature voice, it would have felt unnatural. And so I make it instead as if his voice is aging in step with his memories. Perhaps it makes for a narrator that doesn’t quite make sense, but I think it goes down more smoothly anyhow.
For Harold and Caroline I featured two main characters who were about as different as could be. Harold was flustered and sarcastic, Caroline was mousy and uncoordinated. I did, however, want the two of them to share one trait: each of them is holding back the things they want to say.
I believe that my readers got the sense that Harold was constantly biting his tongue. Every sarcasm and sigh of exasperation was but the tip of the iceberg of what he would like to express. Meanwhile Caroline was unwilling to be vulnerable, and so had to squash down all of her problems and frustrations. She is more open with her friends, but not at all with Harold.
My hope then was that each character would have a sense of being more than they appeared. That way it would feel fitting at the end that Harold has a secret charitable side, and that Caroline has a loving and supportive family. In that final scene each character is for the first time really seeing the other.
The Anther-Child was a piece in which we didn’t even meet our main character until halfway through the story. Up to that point he had only been described as part of a group, the Anther-Children as a whole. And even when he is first singled out it is done very impersonally as “one of the males.”
He is not being treated as an individual because his identity has not been individual until this moment. Then he is slowly given more and more focus. Each of the following sentences deals more and more with his experiences, and less and less with the other character’s. Soon all of the other characters depart entirely and he becomes the sole focus of the piece. At this point he expels his old essence and absorbs a new form from the ground around him. He has a new identity, and it perfectly coincides with how at this moment he has finally become the central character of the story.
Once again, the functional details of how the story is written are reflecting the characteristics of the protagonist and indirectly giving him greater depth.
I wanted to do one last story in this series, and it is going to take the idea of adding subtle character wrinkles in a different direction. I want to write a story about a character that is coming apart. I don’t want to add wrinkles to better define him, I want them to fray him and make him more obscure. I am going to try and write a piece from the perspective of a man who is dying, and as he does so gradually loses his grip on memory, reality, and finally his own identity. It sounds like quite the ambitious exercise, and I can’t claim any confidence for how it will turn out, but frankly I’m excited just to try!
“Add me to the next race,” Taki called out to the registrar, who was seated once more at a small desk and taking applications.
The man looked Taki over, noting the shredded suit barely still hanging onto his battered body.
“That race is in less than half an hour,” the man sniffed, ” and you don’t appear to be…ready.”
“I have my other suit being prepped right now,” Taki waved. “I’ll be ready to run.”
The registrar gave Taki another look-over, this time tabulating all of his scrapes and bruises. He shrugged. Taki got the impression the man didn’t like him very much, but had no doubt been instructed to maintain a very low bar to entry.
“Well then come back here when your other suit is ready to be scanned in. And in the meanwhile get yourself over to the medical tent.”
“Thank you, will do.” Taki strode back to Boro’s shack and deposited the shambles of his current suit, then went to the tent the registrar had referenced. There were no medics inside, this was only an Alley Tier raceway after all, but there were all the basic bandages and disinfectants, and any racer had free access to them. Taki started working on a particularly nasty gouge on his shoulder when he heard a step behind him at the tent’s entrance.
“Hello, Tala,” he nodded as he turned to face her.
“Are you looking forward to a grudge match?” she asked, eliciting a bewildered expression from him.
“What do you mean?”
“That runner who tried to throw you last race, you remember him? You grabbed him and hit the boost together.”
“Well he spun out hard after the boost and he’s been tailing you ever since you got off the spectator’s platform. Right after you signed up for the next race he did as well.”
“Could be a coincidence.”
“Sure,” she scoffed. “It could be.”
“I guess I’d better watch out for him.”
“I guess you’d better.”
There was a heavy pause, an awkwardness from Taki wanting to continue the conversation but not knowing quite how.
“Well, I better go help Boro if you want to get your suit in time for the next race. Good luck not dying out there spark plug!” Then she dashed away before he could say another word.
Spark plug? Was that supposed to be a good thing or not? It didn’t sound particularly flattering. Taki shook his head and tried to focus back on his work. All the adrenaline from the race was fading, and he was only now starting to realize how sore and tender he really felt. It was going to be a hard second race…especially if one of the runners had it in for him.
Well, that was how it was sometimes. One couldn’t wait for fair weather when all of life was a storm.
By the time Taki had himself patched up Boro was putting the final touches on the new suit. It was just as haphazard as the last, but Taki wasn’t so concerned about that anymore. Taki got into the outfit and clunked his way over to the starting drop for the next race. There were seven other racers there, one of which was in the same green suit as the racer Tala had warned him of. That racer’s mask was tinted, so that Taki could not see his expressions. In any case Taki thought it a good idea to position himself as far from that racer as possible, then he looked down at the track beneath them.
As always, the track had been changed between races. Each of the various components that made up the raceway were either on moving arms or else fitted with small thrusters, allowing for an architect to craft a new experience each time.
The change to the track for this race wasn’t particularly interesting. Really it just looked like some giant had shaken the whole track, jumbling the pieces around in a random fashion.
Perhaps the one thing that was interesting was the placement of the race’s end. That platform had been moved to the middle of the track and highly elevated. This would be a more vertical race, then, one where the racers would circle around the final platform, trying to build up enough inertia to vault all the way to the top.
The key to those sorts of races was to find a cycle of boosts, dives, towers, and gravity wells, all linked together and looped through over and over while storing away an ever-increasing reserve of inertia. Then, when one’s banks were full the racer could do an almighty thrust up to the finish.
Taki had been so caught up with the raceway he had completely missed the countdown. As with the first race he vaulted over the edge a moment later than all of the other racers. Or rather, later than all of the other racers but one. Out of the corner of his eye he happened to notice that the green racer had held back, waiting for him to jump first.
Taki spun around as he fell through the air, turning face-up just in time to see the green racer plummeting down to him. It was too late to get out of the way, and so he braced for the impact.
Taki’s suit had already built up enough of a reserve to take the hit without him feeling any of the collision, that wasn’t a concern. What was a concern was that now the other racer had wrapped his arms around Taki’s, locking the two of them together. With the two of them pinned this way the other racer began burning through his own inertia, propelling them downwards like a rocket. The two of them hurtled past all the other racers, screeching towards the pavement below.
This wasn’t a strategy for winning. It was purely a revenge move, one that was entirely illegal and lethal. Taki gritted his teeth and tried to wriggle out of the other man’s grasp, but the lock was too tight and there was no breaking it.
Taki’s eyes fluttered from side-to-side, trying to find some way to escape. His roving eyes happened to light upon the corner of his HUD where his conserved inertia levels were indicated. He had a massive excess there, not too surprising given all of their extra speed.
Taki craned his head backwards, measuring the distance to the ground: 20 meters.
He glanced at the other corner of his HUD which gave the estimated impact force: 34 torques and counting.
Looked back to the ground: 10 meters.
Taki gave a sharp pulse from his own thrusters, not upwards but in a spin. The two of them rolled, now placing Taki on top. The other man thrashed in shock, finally letting go of Taki’s arms.
Right before impact Taki placed his feet on the man’s chest and kicked off, angling his suit to propel him upwards. There was a massive crack and he burst into the air, climbing through space just as quickly as he had been falling through it.
Taki didn’t know if the other man’s suit would have enough energy reserves to displace the force of both Taki’s thrust and the ground beneath. Maybe it would, maybe it wouldn’t. It was on that racer’s own head.
Instead Taki was intent on his target: the end platform. All his incredible excess of energy streamed out as billowing pockets of compressed air, vaulting him high into the sky, lifting him to the level of the winning platform. He passed above it, then angled himself down again, firing with his thrusters for a nice, soft landing on the pavement.
And just like that, he had won again.
Taki dropped to his knees and sighed out long and low. He had managed to survive, but his hands were clammy and his body was shaking. He thought he might be sick.
Power Suit Racing tended to attract some of the most desperate and degenerate of society. Frustrating as it was, revenge-mongers were just a part of the sport. Taki didn’t have long to stay alone in his shock. Already the spectator platform was descending to him, and everyone on-board seemed quite animated. The speed of his run must have broken a number of records.
Taki stood to meet them, feeling his resolve return and deepen. This was just a race, one of many. It was over and now it was time to move on to the next. No stopping, no waiting.
Less than an hour later Taki was in the next race, running sideways along a beam, reaching his arm out for a pole. He gripped it and swung himself around to another platform, planting his feet and sprinting towards the finish platform. He had burned too much of his inertia and couldn’t propel himself quickly enough. Another racer in gold won that race and Taki took second. Not as big of a payout, but he would still receive something.
“So you said you came here because you were mad,” Tala said to him as he used a spanner to refit the gloves of his suit. “Tell me about that.”
“Why do you care?”
Tala shrugged. “I like to know what drives a man, I suppose. So, did you kill someone?”
Taki had his feet planted in a wide stance, trying to keep his balance as he slid down an angled platform, coming down the home stretch to the final. Another racer suddenly careened at him from the left, trying to take him out. Taki barely got his hand up and fired a blast just in time to send that competitor spinning away.
Taki’s decline leveled out, came to an end, and he shot out through open space. He threw his hands out and caught the lip of the final platform, but in his moment of distraction had failed to jump high enough to mount it. He gave a blast from the boots of suit, causing his whole body to swing up and around like a pendulum, flipping him onto its surface. He had made it, but during his slight delay another racer had just barely beat him to the win. Second place again.
“Not any sort of crime?” Tala asked with a raised eyebrow.
“Hmm, okay then.” She looked disappointed. “So what are you running from, then? A girl?”
Taki rolled his eyes. “Why couldn’t it be that I’m running towards something?”
“You said you were angry. People don’t run towards things when they’re angry, only when they’re passionate. Anyway, definitely sounds like a girl.”
Taki landed in the center of the gravity well. Here a racer would be suspended in midair, lifting and falling with the pulsing energy. The trick was to figure out the cadence of that pulsation and press against it during an expansion-interval. That resulted the in the runner being catapulted out at terrific speeds. Taki tried to calm his panting breath, looking for that stillness which would allow him to sense the subtle shifts of the pulses.
He paused, waited through a few seconds to be sure he had it right, then thrust! Right as he burst forward another racer slammed him from the side, spinning him to the ground and out of the race.
“They keep targeting me directly!” Taki fumed to Boro.
“You’ve been doing well,” Boro shrugged. “They figure you’re their toughest competition.”
“Well I’m not very flattered.”
Boro sighed. “Listen kid, most of the runners in these races are losers. Now every so often a loser happens to have a little talent and they win a few races, but that streak lasts only four, maybe five races. Because really they’re still a loser, and they don’t know how to make the transition to being a winner. Then the other losers will pull them back down every time. It’s the how it works in this world.”
“But if you do make the transition to be a winner?”
“Then they can’t ever stop you.”
“How do you do it?”
Boro put down his tools and leaned close to Taki, looking him right in the eyes. “You did it once already. In that second race when the guy tried to squash you on the dive. You took his attack and you used it.”
“Really I was just trying to survive.”
“Well from now on winning is surviving. Look, they’re gonna to be coming after you like that. Every. Single. Race. You gotta run with their attacks now, not against them.”
Taki nodded to show he understood. “It sounds hard.”
Boro returned to his work. “Only a winner ever manages it.”
Taki saw the other racer out of the corner of his eye, but he was too late to avoid the hit. The two collided and the other racer threw him into a nearby boost. This boost was not a useful one, though, it was angled upwards, pointing uselessly out to the skies. Sometimes boosts were setup this way, providing red herrings for racers that weren’t paying attention.
Taki hurtled up in the air and spun around, taking in his new, less than ideal surroundings. In this race the final platform was quite low, 50 meters directly beneath him now. The problem was that the fall between him and it was entirely littered by various obstacles. There were a couple platforms running at odd angles, another boost going in the wrong direction, a giant, horizontal fan spinning dangerously…
Taki gritted his teeth, there was nothing but to go for it. He thrust himself downwards, adding his stored inertia to the natural pull of gravity. As he plummeted he gave a sharp twist and wound around the first of the platforms in his way. Now the next platform was coming up quick and he needed to go sideways, so he threw a thrust to the side, scraping across the last few feet of the platform as he rounded its edge.
He burst right, then left, not daring to slow his dive one bit. He needed to keep up as much momentum as possible for the end. The last obstacle was a wide tarmac shell that stretched over the entire top of the finish platform. It was intended to force runners into taking a sideways route to the end.
Taki streaked down to that shell and slammed his feet down against it, simultaneously throwing a downwards thrust and letting his suit’s impact resistors kick in. Under the triple blow the rock burst apart and he fell through the hole and onto the finish below. Finally a first place.
“See I like guys who have a passion for something,” Tala explained.
“I’m really not sure why you keep telling me about what you like and don’t like in guys. I mean I haven’t ever even asked you to dinner.”
“And yeah, about that,” she said accusingly. “What’s your problem there?”
“Oh…uh, well if I did ask would you say ‘yes’ to me?”
She scoffed. “No way. I only like guys who have a passion.”
Three weeks past by in a blur. Every night Taki went to bed sore and exhausted, each morning he raced the next day away. He was surprised at how much frustration he had to burn, but finally he seemed to be getting through it. He had already topped the Alley races and now he was being barraged by sponsors from the higher leagues, each asking him if he was ready to make the transition to the big time. He had made enough winnings to pay off both of his suits, and had even commissioned Boro to make him a third one with higher-grade parts. It would be perfect for an advance to the Street Tier.
But now that he was standing on the precipice of the future Taki felt himself hesitating. The whole point of these races had been to just plunge ahead without a plan, now he was being asked to decide what came next. That sounded a lot like having a plan again.
It was with his muddled around thoughts of the future that he walked off of the observer platform towards Boro’s shack, fresh off yet another win. As he neared the small structure he was pulled out of his reverie by a sense that something was off. Both Boro and Tala were standing outside with arms folded, watching him with apprehensive expressions.
“What is it?” he asked.
“Someone came down to talk to you, boy,” Boro said.
“What? Another sponsor?”
“No,” Tala said softly.
Taki frowned, but clearly the two weren’t going to be forthcoming about this. He sighed and walked through the door. There was a richly dressed woman he didn’t think he knew standing with her back to him. As she heard the door open she turned around to face him.
I mentioned on Monday about the common story archetype of rebirth. I explained that in today’s post we would see Taki fighting to fill the measure of his new identity. Certainly he started this adventure with some natural skill and an inclination for how to race, but as he became more of a threat to the other runners he had to learn to adapt to their attacks.
This growth in his technique is meant to parallel his growth within as well. He is no longer able to identify as just another part of the pack, he is becoming more elevated than the rest of the rabble he runs with. This is leading to a point of decision, evidenced by the conflicting feelings he has for graduating to the higher leagues of the sport. Though that path seems natural and obvious, a voice inside is resisting.
It is at this point of indecision that we are finally ready to see the final component of a character’s transformation: the return. In this case it is the return of his old love interest, come to invite him back to the life he thought he had lost. Next week we will see how he deals with this temptation, and whether he has truly changed or not.
Before that, though, I want to take a brief look at something more technical. I wanted to cover a lot of ground with this section of the story, and that led me to including a montage sequence. All at once the entire timescale of the story shifted to something far more rapid, and then it had to ease back out for the final scene. How exactly does an author manage a shift from one timescale to another anyway? Come back on Monday as we take a deeper dive on that subject, and then on Thursday we’ll have the last entry in Power Suit Racing. Until then, have a wonderful weekend!
This last Thursday I posted the first third of a short story that starred a pretty deplorable character. Jake was either born without ethical restraints, or else he managed to sand them away over time. Also, he happens to be a jerk. Particularly vicious was the scene where he sees a stranger and proceeds to scathingly critique him as one of the lowest dregs of humanity.
And yet, I actually intended for that scene to ultimately make the audience feel more sympathetic to Jake. In time, as more of his character is revealed, it will become evident that that vicious mockery is more inwardly directed than outwards. Jake still has problems, and is still the story’s villain, but he is more of a victim of his actions than anyone else.
As I wrote the segment where Jake mocks a stranger I allowed myself to be crueler because of my knowledge that it was self-reflective for him. However I also knew that the reader wouldn’t have this information, and so might misread the moment. And that was intended.
It’s almost unavoidable at the beginning of a story for readers to make first impressions and take all that they are shown at face value. One of my favorite things is when an author is aware of these two facts, and structure their story so that it will support the readers’ in their initial perceptions upon a first reading, and then challenge them upon a second.
I could, of course, have opened the story by establishing how much Jake loathes himself, but then the audience would have been sympathetic to him from the outset. That would have limited their ability to despise him, so instead I let him introduce himself as he believes himself to be: creepy, unrepentant, and cruel. When at the end of my post he started applying these sorts of labels to himself, the readers only heard him echoing their own thoughts for him. Perhaps as they come to see how miserable he is they might feel bad for having made those initial judgments.
Or maybe they won’t. Maybe they’ll feel he is only receiving his just desserts. Either way, the reader will be making a choice, thus be more actively engaged in the story, and thus be more affected by it.
A Christmas Carol)
In writing my story this way I’m actually paying homage to one of my most favorite tales of all time: A Christmas Carol. When we are introduced to Ebenezer Scrooge we are not told first about his unhappy childhood, about how he was banished from his home by an unfeeling father. We don’t hear about his immense poverty and his drive to become something more. We don’t know the tragedy of how that misguided ambition ultimately lost him the love of his life.
No, we do not hear about those things until later, so that there can be nothing in the way of our reviling this bitter and cold man. All we know at the outset is that he is cruel, deservedly despised, and we very easily dismiss him.
But then, as these sadder elements of his life are unfolded, we find ourselves grieving for the lost child still within him and we are deeply relieved when his soul eventually finds its reclamation. From the first impressions we are able understand why the world is so disbelieving of his dramatic transformation, but by the end of our journey we are believing of it ourselves.
The fact is, if Charles Dickens had laid out the story to capture our sympathy for Scrooge first, then his reclamation would not have tasted nearly so sweet. To despise a character, and then pity him, and then joy for him is a far more moving arc than any other arrangement of those same sensations.
Another favorite example of this is from the film Citizen Kane. Charles Foster Kane is not a very pleasant person. He happens to be rich, powerful, and a genius, but also pompous, self-righteous, and manipulative. He possesses a constant hunger for more, and by his obsessive and overbearing nature he manages to sour his every relationship until all that remain in his household are the servants.
We’ve seen how he demands control of every situation. He tries to force love and friendship from those that would have given it willingly. He wants to own happiness, to buy it. He lavishes the woman he loves with gifts until she feels smothered and ends the relationship. It is almost pitiable, except for the fact that he is wholly responsible for his own suffering.
Then he dies with a single word on his lips: “Rosebud,” which is revealed to be the name of a sled he played with as a young boy at his parent’s home. There he was happy, and it was a simple and authentic happiness. Tragically that moment of bliss was taken from him suddenly, and he has never since found it again. Just like that we understand his enigma.
We realize that he has been made afraid of all good things being taken away. He wants to be in control so that he won’t be hurt again. And, ironically, it has been his avid pursuing that has lead to his constant losing, a vicious and never-ending cycle of loss and clutching.
In all of these cases the understanding that dawns on the reader is not meant to excuse the main character’s flaws. What they have done is still just as wrong, but now at least we see the motivations that led them to do those wrong things. Actions can be both wrong and understandable, after all. and the beginning of prejudice is when we forget that there is a humanity behind the mistakes people make.
I think we can all agree that the world needs more stories like these. I’m not going to get political on this forum, but it is clear that intolerance for opposing ideals is a depressing epidemic of our lives. It’s not wrong to want this world to be better, but society will never be improved via argument or insult. If someone doesn’t agree with your particular point-of-view then there is an understandable, even if misguided, reason for that. People don’t need to be forced into becoming better, they only need a sympathetic voice that truly hears, understands, and validates their concerns. When nurtured in this way people will naturally recognize their own faults and rise to their best.
When it comes to writing, though, this sort of sympathy for a negative character can be difficult to pull off. It’s difficult to do in real life, so of course it would be tricky in the written word, too. I don’t mind admitting that I’m nervous about tackling the subject with Jake. At the very least I do understand the template to follow: first introduce the character as they are perceived, then reveal them as they actually are.