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#41 sunandshadow   Moderators   -  Reputation: 6644

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Posted 20 October 2011 - 01:20 AM

@Wai - Heh, I just had a milkshake today - I have no-sugar-added chocolate ice cream, and I just stir it up with a little water or vanilla soy milk. Best thing I tasted all day, and much less expensive when home made. I have had milkshakes that are too strong, usually the kind with little bits of chocolate in them.

The car was imagery interested me, it's a fun scenario to interpret. I always loved going through the car was when I was a little kid; haven't done that in years, they are more expensive than milkshakes lol. I would choose B from your choices since it seems both people could be shadowed. I don't think they fought or anything happened in the car wash, they seem to be content looking their different directions (inward vs. outward) and not paying attention to each other or taking any action.

For the earlier choice about Skyle, I would say E. she seems bored.

I want to help design a "sandpark" MMO. Optional interactive story with quests and deeply characterized NPCs, plus sandbox elements like player-craftable housing and lots of other crafting. If you are starting a design of this type, please PM me. I also love pet-breeding games.


#42 Wai   Members   -  Reputation: 1003

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Posted 20 October 2011 - 04:00 AM

@ Orsony

I don't understand what the three sons (Logi, Kari, Ogir) are doing after Gabriel is awoken. You said that Forn created a trial to award people with powers, but from the subsequent paragraphs it sounds like Forn created a trial to take away the powers of those who fail the trial.


@ sunandshadow

Now that you posted the synopsis, I agree with the earlier assessment (TechnoGoth, since I don't know who else could have read it) that the way it was written does not have the charm that it should have with a comedy, and the characters seem soul-less.

Compare with this design:

Title: Mother Risa
Genre: Comedy

Story: The person that deserves love the most is the one that loves the most. This story is about a group of adolescent friends in an orphanage trying to find a spouse within one year for their care-taker 'Mother Risa' before they would leave the orphanage to pursue their dreams in separate ways.

Characters:
Mother Risa: The loving care-taker in the orphanage that never given up on the kids that no one adopted. The kids call her 'Mother Risa'.
Michael: The leader of the mischievous bunch, who once said to Risa, "If I grow up I would marry you!" He came up with the idea of finding Mother Risa's soul-mate.
Gillian: The nerdy girl who helps out on the paperwork and website for the orphanage. She is wary of Michael but she was persuaded to join the group.
Doug: The big boy that talks little, slow, and kind. He is loyal to Michael because Michael beat up the other kids when they picked on him.
Randy: The truant, unreliable tomboy girl that knows random things and appears randomly when people least expect.
George: The boy that can't stop talking, hearing his voice is like the everything-is-fine alarm in the mess hall.
Tiffany: A rich girl from out of town who often pass by the orphanage, that the kids know little about.

Plot Outline:
0.1 - The farewell night and the gather afterward when Michael proposed the plan to get Mother Risa married.
0.2 - Gillian's are-you-out-of-your-mind argument with Michael, and Michael's persuasion
0.3 - George's surrogate profile for Mother Risa and online screening
0.4 - The dates that can't be arranged and Doug's in-person search
0.5 - The arranged meeting at the fair for Mother Risa with Mr. Nice Guy.
0.6 - The development between Mother Risa and Mr. Nice Guy.
0.7 - The secret about Mr. Nice Guy that Randy discovered but didn't want to tell.
0.8 - Gillian's scholarship, Michael's fight and arrest, the leaking of the plan, and Mother Risa's heart-break all at the same time.
0.9 - Gillian's farewell, the long days, the last day at the orphanage and Tiffany's letter.
1.0 - The reunion at the orphanage.

(Plot Structure)
0.1 - The Goal
0.2 - The initial plan
0.3 - The initial progress
0.4 - The fall of the initial plan
0.5 - The second plan
0.6 - The second progress
0.7 - The bad news
0.8 - All is lost
0.9 - The revelation
1.0 - Conclusion

#43 Orsony   Members   -  Reputation: 100

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Posted 20 October 2011 - 04:09 AM

What I meant was:
He gives them the powers when he creates them, but his sons are pissed at him for doing it. So he sets the humans a trial, to show their worth. Those who failed, lost the power.

#44 JoeCooper   Members   -  Reputation: 338

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Posted 20 October 2011 - 02:07 PM

Hi Sun,

I like the new story.

#45 sunandshadow   Moderators   -  Reputation: 6644

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Posted 21 October 2011 - 04:23 AM

@Wai I believe that weather any story is funny or not is mainly in the details of how it is presented. No plot outline is inherently funny. Yours too features some events which are potentially very-not-funny, particularly "0.8 - Gillian's scholarship, Michael's fight and arrest, the leaking of the plan, and Mother Risa's heart-break all at the same time." I can imagine this all being done in a very funny way or a not funny at all way. But, why does the woman seem soulless? She has two strong desires, melancholy, fear, philosophy, creativity, and proactiveness. I would have thought those are exactly the traits a character needs to be appealing.

I want to help design a "sandpark" MMO. Optional interactive story with quests and deeply characterized NPCs, plus sandbox elements like player-craftable housing and lots of other crafting. If you are starting a design of this type, please PM me. I also love pet-breeding games.


#46 allen_idaho   Members   -  Reputation: 98

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Posted 21 October 2011 - 08:45 PM

Lately, I've been working on a few small personal projects off and on.

1. Versus - A simple multiplayer first person shooter in which a mysterious billionaire has assembled some of the world's deadliest mercenaries and assassins to hunt one another to the death for his amusement. Each player is implanted with a GPS tracker and given a specific target to kill. However, while you are hunting after your target, someone else has been hired to hunt you.

2. Blame - A story driven first person shooter inspired by the novels "The Last Ship" and "Down to a sunless sea". It follows a Navy Seal who is conducting training off the coast of Hawaii. After an unexpected nuclear strike hit the island of Oahu, the Seal and the crew of the ship his is on find themselves as survivors without a home when they soon learn that hundreds of nuclear warheads have hit locations all over the world. -- There is a lot more to the story. That is just a brief synopsis.

3. Monster - A 3rd person stealth game which pits the player as a serial killer who is executed and sent to hell. While in hell, the serial killer is given an opportunity to return to Earth and collect souls. Now inhabited by a smart-talking demon which gives him supernatural abilities, the player takes on the role of a Jason Voorhies or Michael Myers style killer who must use his stealth and cunning to lure out and kill his victims. Things become more complicated when he finds himself competing with other monsters and some self-proclaimed monster hunters.

#47 Wai   Members   -  Reputation: 1003

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Posted 22 October 2011 - 04:36 AM

@ sunandshadow (#45)

"0.8 - Gillian's scholarship, Michael's fight and arrest, the leaking of the plan, and Mother Risa's heart-break all at the same time." is not meant to be funny. This plot point is the "All is lost" plot point. I know that "All is lost" could be done in a funny way but in this case I wasn't trying to be funny. This is actually a plot point meant to hit hard emotionally. The problem with that plot is that the emotion wasn't recovering fast enough. The way I see it, the bigger problem is 0.9. Plot point 0.9 recovers too slowly. In plot point 0.9, the revelation (the missing information that will save everyone), needs to come right after so that the sadness is not prolonged.

Plot Outline:
0.1 - The farewell night and the gather afterward when Michael proposed the plan to get Mother Risa married.
0.2 - Gillian's are-you-out-of-your-mind argument with Michael, and Michael's persuasion
0.3 - George's surrogate profile for Mother Risa and online screening
0.4 - The dates that can't be arranged and Doug's in-person search
0.5 - The arranged meeting at the fair for Mother Risa with Mr. Nice Guy.
0.6 - The development between Mother Risa and Mr. Nice Guy.
0.7 - The secret about Mr. Nice Guy that Randy discovered but didn't want to tell.
0.8 - Gillian's scholarship, Michael's fight and arrest, the leaking of the plan, and Mother Risa's heart-break all at the same time.
0.9 - Gillian's farewell, the long days, the last day at the orphanage and Tiffany's letter.
1.0 - The reunion at the orphanage.


Plot Outline:
0.1 - The farewell night and the gather afterward when Michael proposed the plan to get Mother Risa married.
0.2 - Gillian's are-you-out-of-your-mind argument with Michael, and Michael's persuasion
0.3 - George's surrogate profile for Mother Risa and online screening
0.4 - The dates that can't be arranged and Doug's in-person search
0.5 - The arranged meeting at the fair for Mother Risa with Mr. Nice Guy.
0.6 - The development between Mother Risa and Mr. Nice Guy.
0.7 - The secret about Mr. Nice Guy that Randy discovered but didn't want to tell.
0.8 - Gillian's scholarship, Michael's fight and arrest, the leaking of the plan, and Mother Risa's heart-break all at the same time.
0.9 - Tiffany's letter and visit. Farewell celebration
1.0 - Scrapbook


* * *

The woman seems soul-less because of what I feel from the description. It is not about what you feel about the character but what I could feel from reading the description. When I read it I don't feel her love of anyone including the child that she wanted to have. It sounded like the child was some kind of status symbol she wanted to get, instead of a human being with their own future. The following are some specific signs that made me feel this way:

P1S1: A single woman [Omilla] decides she wants a child and is secure enough financially and socially to raise a child by herself.
P1S2: She'd really rather have a loving mate who would help her raise a child, but she's failed to find that for years and she's tired of waiting.
P1S3: She'll take one last shot at it - there is a town nearby which has strong local beliefs and traditions about soulmates and helping them find each other.
P1S4: If this succeeds, wonderful, she'll get her baby because her soulmate will sire it.
P1S5: But if (when) it fails, that town is a good vacationing place where she can go to a bar and pick up a one-night-stand to sire her baby.


P1S1: A single woman [Omilla] decides she wants a child and is secure enough financially and socially to raise a child by herself.
P1S2: She'd really rather have a loving mate who would help her raise a child, but she's failed to find that for years and she's tired of waiting.
P1S3: She'll take one last shot at it - there is a town nearby which has strong local beliefs and traditions about soulmates and helping them find each other.
P1S4: If this succeeds, wonderful, she'll get her baby because her soulmate will sire it.
P1S5: But if (when) it fails, that town is a good vacationing place where she can go to a bar and pick up a one-night-stand to sire her baby.


What I read from what you wrote: (Disclaimer: My English is not good and I don't necessarily know what a word means to a native speaker. I am just talking about what I felt when I read it.)

P1S1: A single woman [Omilla] decides she wants a child and is secure enough financially and socially to raise a child by herself.

To me this sentence focused on whether Omilla could afford to have a child. It didn't tell me anything about whether she loves children or why she wanted a child, or what a child would mean for her. To me it sounds really wrong. Ever heard about the phrase that describes a child as "the crystal of love", or the equivalent saying in English that means children is what you get when you know what love is. When I read this sentence, I feel Omilla is trying to buy a new car or a new house. I don't feel that she is seeing a child as a person. I feel that a child to her is some kind of status symbol, something she wants to get to make herself feel complete. I feel that she concerns less about the well-being of the child, but more on whether she could get one.


P1S2: She'd really rather have a loving mate who would help her raise a child, but she's failed to find that for years and she's tired of waiting.

When I read this I feel she had no concept of what love is or what relation it is between a husband and a wife, a father and his child, and a mother with the same child. When I read this I see the relation being like this: Lover ----- Omilla ----- Child. Basically, the "lover" is some kind of third person with the primary job being to love her. The child is hers, not the Lover's. However, she would want the Lover to help her out to raise the kid. I feel that the sentence focused on describing the Lover's role in helping Omilla instead of helping the child. It sounded as if she assumed that the father of the child would not care. Omilla is trying to have a child when she seems to have no value and no concept that a child and the father are part of a family. I also found the description that she's "tired of waiting" sounds pretty bad. Part of the reason is that you haven't stated why she wanted a child. So right now, in my mind, Omilla is someone irritated and annoyed that she doesn't have a child, and she is trying to get it done to free herself of that anxiety with little consideration on what it means for the father and the child. I see no sign that she thought from their perspectives. She was only thinking for herself.


P1S3: She'll take one last shot at it - there is a town nearby which has strong local beliefs and traditions about soulmates and helping them find each other.

When we hear about people trying to have kids, usually that means a couple is trying, there is a mutual agreement between the couple that they want a child and they are trying to have one. In this case, I think "one last shot" just sounds too opportunistic to me for the context, partly because you have not described how it would be like for her to continue without a lover or a child. So far, the description didn't point to her being lonely or being sad. It only sounds like a child is some sort of accessory to her that she wants to win at a casino by rolling the dice.


P1S4: If this succeeds, wonderful, she'll get her baby because her soulmate will sire it.

My English is poor. When I read the word "sire" I think of horse breeding. I have never heard of human describe a father as someone that sires the child. According to the description, I feel that "soulmate" is not a term that Omilla is familiar with. It is a foreign concept to her, and I feel that at this point in the plot, she is using that them as a label. I feel no sense that Omilla has a clue what a soulmate is or how a pair of soulmates mean for each other. Here, there is no sense of romance or love, just the mechanical requirement to get something done. Although you use the word 'soulmate', when I read it I feel that the soulmate is some kind of disposable object, once the purpose is served, it is okay to let go. She cares more about her getting a baby somehow than the life the have with a soulmate. It feels so weird because the statement is so void of life.


P1S5: But if (when) it fails, that town is a good vacationing place where she can go to a bar and pick up a one-night-stand to sire her baby.

Here I have the same feeling that everything are just objects for her to get her desires. She is void of love and feeling for others. All she things about is how to get herself what she wants. Although this sentence raises the question, "If she really didn't care, and she is so confident that she could get a one-night-stand to get a child, then isn't it the proof that she cares about having a good lover and a good father?" To that I feel two things: 1) Her desire to look for a lover and a father doesn't mean that she care about them, but their service to her. 2) You can write many motivations and situation, but having them written doesn't make them believable. In this case you can write that she is loving and considerate, but I don't feel it because things didn't add up. It sounds more like a forced assertion than the truth.



I am not trying to contest the psychological urges to have child. But in my use of words, urges, desires, emotion, being creative, and the ability to plan are not the determining characteristic of a soul. I know every time I post I am popping up some definition. These definitions are subjected to updates. But for now, I think that a soul is a mind that cares about other people. And I see these degrees of caring:

Level 1) Care about yourself
Level 2) Care about your kids
Level 3) Care about people who can help you
Level 4) Care about other people
Level 5) Care about your enemies

At level 1 you get the 'selfish people'. At level 2, you get the 'motherly love'. At level 3 you get the 'comrade love'. At level 4 you get the 'altruists'. At level 5 you get the 'saints'. This is a pretty bad concept to disclose because on this scale, being a mother who loves your kids doesn't make you that great. It is a message pretty hard to swallow for people believe motherly love is the greatest. To be fair though, you can't compare that motherly love to a typical relation between friends. Instead you need to compare that to someone who is willing, or at least did not give up after an investment, to help a friend while losing mobility, losing sleep, losing money, and risking their life. You would need to compare that to defenders that risks their lives not to make a living, but because they want to protect the people that they don't know and in no way would help them. Are these people insane? No, they do it because they care.

From the description I felt that Omilla is at Level 1.


* * *

I want to reply for (#41) but I ran out of time. I replied this first because the follow up for (#41) is less useful compared to this for (#45) because if you agree with it you could start editing or redesign, and it allows others to see what I meant so that they could post their views.

#48 JoeCooper   Members   -  Reputation: 338

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Posted 22 October 2011 - 06:38 AM

About the child, I suspect Wai just hasn't "been there". I've wanted a baby for years and kind of had to wait until such a thing was - forgive these cold terms - economically viable. Now I do and I'm super happy and love my baby.

"She wants to be able to afford to have a baby" is basically code for "she wants to have a baby". Definitions of "able to" will vary but as a general rule we might say "can spare both time and resources necessary to facilitate a good enough childhood". That the baby is a status symbol is not implicit.

#49 sunandshadow   Moderators   -  Reputation: 6644

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Posted 22 October 2011 - 08:53 AM

@ sunandshadow (#45)

"0.8 - Gillian's scholarship, Michael's fight and arrest, the leaking of the plan, and Mother Risa's heart-break all at the same time." is not meant to be funny. This plot point is the "All is lost" plot point. I know that "All is lost" could be done in a funny way but in this case I wasn't trying to be funny. This is actually a plot point meant to hit hard emotionally. The problem with that plot is that the emotion wasn't recovering fast enough. The way I see it, the bigger problem is 0.9. Plot point 0.9 recovers too slowly. In plot point 0.9, the revelation (the missing information that will save everyone), needs to come right after so that the sadness is not prolonged.

Ah. I am not a big fan of "darkest moment" or "all is lost" plot points, I tend to instead use "out of time/out of options" for a moment of doubt that there is any way to solve the story problem. Then the character either thinks of a new option or finally faces the option they have been avoiding, either way requiring more courage and resolve than the character usually has. But "darkest moment" plot points can be very effective, including in comedy. Two of the recent great comedy movies I watched, Megamind and Despicable Me, both had a very low point; I felt that it was a little too low when it happened in both cases, but it definitely helped make the ending happier. But I'd say that the problem with point 9 is not that it is slow, the problem is that I cannot guess how point 9 solves the problem in 8 to make everyone happy again. With the earlier points they are very brief but because I am familiar with child-as-matchmaker comedy I can guess how each would be done and what each would mean in the context of that type of story. But because the way a story problem is solved is usually a surprise not predictable from the earlier story I can't guess without more explanation how point 9 solves the problem.

The woman seems soul-less because of what I feel from the description. It is not about what you feel about the character but what I could feel from reading the description. When I read it I don't feel her love of anyone including the child that she wanted to have. It sounded like the child was some kind of status symbol she wanted to get, instead of a human being with their own future. The following are some specific signs that made me feel this way:

P1S1: A single woman [Omilla] decides she wants a child and is secure enough financially and socially to raise a child by herself.
P1S2: She'd really rather have a loving mate who would help her raise a child, but she's failed to find that for years and she's tired of waiting.
P1S3: She'll take one last shot at it - there is a town nearby which has strong local beliefs and traditions about soulmates and helping them find each other.
P1S4: If this succeeds, wonderful, she'll get her baby because her soulmate will sire it.
P1S5: But if (when) it fails, that town is a good vacationing place where she can go to a bar and pick up a one-night-stand to sire her baby.


P1S1: A single woman [Omilla] decides she wants a child and is secure enough financially and socially to raise a child by herself.
P1S2: She'd really rather have a loving mate who would help her raise a child, but she's failed to find that for years and she's tired of waiting.
P1S3: She'll take one last shot at it - there is a town nearby which has strong local beliefs and traditions about soulmates and helping them find each other.
P1S4: If this succeeds, wonderful, she'll get her baby because her soulmate will sire it.
P1S5: But if (when) it fails, that town is a good vacationing place where she can go to a bar and pick up a one-night-stand to sire her baby.


What I read from what you wrote: (Disclaimer: My English is not good and I don't necessarily know what a word means to a native speaker. I am just talking about what I felt when I read it.)

P1S1: A single woman [Omilla] decides she wants a child and is secure enough financially and socially to raise a child by herself.

To me this sentence focused on whether Omilla could afford to have a child. It didn't tell me anything about whether she loves children or why she wanted a child, or what a child would mean for her. To me it sounds really wrong. Ever heard about the phrase that describes a child as "the crystal of love", or the equivalent saying in English that means children is what you get when you know what love is. When I read this sentence, I feel Omilla is trying to buy a new car or a new house. I don't feel that she is seeing a child as a person. I feel that a child to her is some kind of status symbol, something she wants to get to make herself feel complete. I feel that she concerns less about the well-being of the child, but more on whether she could get one.


P1S2: She'd really rather have a loving mate who would help her raise a child, but she's failed to find that for years and she's tired of waiting.

When I read this I feel she had no concept of what love is or what relation it is between a husband and a wife, a father and his child, and a mother with the same child. When I read this I see the relation being like this: Lover ----- Omilla ----- Child. Basically, the "lover" is some kind of third person with the primary job being to love her. The child is hers, not the Lover's. However, she would want the Lover to help her out to raise the kid. I feel that the sentence focused on describing the Lover's role in helping Omilla instead of helping the child. It sounded as if she assumed that the father of the child would not care. Omilla is trying to have a child when she seems to have no value and no concept that a child and the father are part of a family. I also found the description that she's "tired of waiting" sounds pretty bad. Part of the reason is that you haven't stated why she wanted a child. So right now, in my mind, Omilla is someone irritated and annoyed that she doesn't have a child, and she is trying to get it done to free herself of that anxiety with little consideration on what it means for the father and the child. I see no sign that she thought from their perspectives. She was only thinking for herself.


P1S3: She'll take one last shot at it - there is a town nearby which has strong local beliefs and traditions about soulmates and helping them find each other.

When we hear about people trying to have kids, usually that means a couple is trying, there is a mutual agreement between the couple that they want a child and they are trying to have one. In this case, I think "one last shot" just sounds too opportunistic to me for the context, partly because you have not described how it would be like for her to continue without a lover or a child. So far, the description didn't point to her being lonely or being sad. It only sounds like a child is some sort of accessory to her that she wants to win at a casino by rolling the dice.


P1S4: If this succeeds, wonderful, she'll get her baby because her soulmate will sire it.

My English is poor. When I read the word "sire" I think of horse breeding. I have never heard of human describe a father as someone that sires the child. According to the description, I feel that "soulmate" is not a term that Omilla is familiar with. It is a foreign concept to her, and I feel that at this point in the plot, she is using that them as a label. I feel no sense that Omilla has a clue what a soulmate is or how a pair of soulmates mean for each other. Here, there is no sense of romance or love, just the mechanical requirement to get something done. Although you use the word 'soulmate', when I read it I feel that the soulmate is some kind of disposable object, once the purpose is served, it is okay to let go. She cares more about her getting a baby somehow than the life the have with a soulmate. It feels so weird because the statement is so void of life.


P1S5: But if (when) it fails, that town is a good vacationing place where she can go to a bar and pick up a one-night-stand to sire her baby.

Here I have the same feeling that everything are just objects for her to get her desires. She is void of love and feeling for others. All she things about is how to get herself what she wants. Although this sentence raises the question, "If she really didn't care, and she is so confident that she could get a one-night-stand to get a child, then isn't it the proof that she cares about having a good lover and a good father?" To that I feel two things: 1) Her desire to look for a lover and a father doesn't mean that she care about them, but their service to her. 2) You can write many motivations and situation, but having them written doesn't make them believable. In this case you can write that she is loving and considerate, but I don't feel it because things didn't add up. It sounds more like a forced assertion than the truth.



I am not trying to contest the psychological urges to have child. But in my use of words, urges, desires, emotion, being creative, and the ability to plan are not the determining characteristic of a soul. I know every time I post I am popping up some definition. These definitions are subjected to updates. But for now, I think that a soul is a mind that cares about other people. And I see these degrees of caring:

Level 1) Care about yourself
Level 2) Care about your kids
Level 3) Care about people who can help you
Level 4) Care about other people
Level 5) Care about your enemies

At level 1 you get the 'selfish people'. At level 2, you get the 'motherly love'. At level 3 you get the 'comrade love'. At level 4 you get the 'altruists'. At level 5 you get the 'saints'. This is a pretty bad concept to disclose because on this scale, being a mother who loves your kids doesn't make you that great. It is a message pretty hard to swallow for people believe motherly love is the greatest. To be fair though, you can't compare that motherly love to a typical relation between friends. Instead you need to compare that to someone who is willing, or at least did not give up after an investment, to help a friend while losing mobility, losing sleep, losing money, and risking their life. You would need to compare that to defenders that risks their lives not to make a living, but because they want to protect the people that they don't know and in no way would help them. Are these people insane? No, they do it because they care.

From the description I felt that Omilla is at Level 1.


* * *

I want to reply for (#41) but I ran out of time. I replied this first because the follow up for (#41) is less useful compared to this for (#45) because if you agree with it you could start editing or redesign, and it allows others to see what I meant so that they could post their views.


This is very interesting. I think this difference of interpretation is partly cultural but also my fault in that I was lazy - I did not describe why the main character wanted a child because I find that a difficult thing to describe. I don't feel that a child who isn't yet born can be loved as an individual, so I don't find love an appropriate word to use for the intense emotion of wanting to have a child. Instead I see the urge to have a child as being an urge to be helpful and an urge to move from a cold pointless existence to one which contributes something positive and warm to the world. Half-way like the urge to become a nurse and half-way like the urge to create beautiful art. It is indeed irrelevant to any men because it is irrelevant to gender; a man could make exactly the same choice to become a loving single father. [This is also said to Joe, I did not intend any misandry because I would indeed write the same story with the genders changed about. That's quite an interesting challenge actually, I feel a story idea starting to brew...] And the urge to have a child is completely separate from the desire for passionate love which she wanted for a long time but has all but given up on. If the father of the child is someone the woman loves, this would be tempting but unnecessary icing on the cake which is already sweet enough.

I intended her to be on the boundary between level 3 and 4 because a theme of the story is about balancing personal desire with moral treatment of others. Personally I don't like characters who are too nice because I think the ideal person needs to have a firm sense of self and balance helping others and helping the self. This might be a cultural point - in American and British culture it is a common problem for women to become depressed because they try to be too selfless and then feel guilty for asking others to give anything to them. Many women's fiction stories in the past few decades have a theme of "finding oneself". But this is not limited to women, it also appears in stories about men who start out very meek and unable to assert themselves because they fear being rude or aggressive, and over the course of the story they learn to consider themselves and their desires worthwhile and assertiveness the healthiest kind of attitude, and an attitude others will find likable and praise-worthy in them.

The other cultural part is what Joe mentions, it's very common for people in American culture to be criticized for creating a child without the economic resources to give that child a good upbringing. It is considered shameful and the height of irresponsibility for anyone poor to have a child. It is also considered mildly irresponsible for anyone under about 25 or who has been with their partner for less than about 3 years to have a child because the social context of a young person or a newly relationship isn't stable. This is a big change from many traditional cultures and religions where couples are supposed to marry young and have children immediately. On the other hand, while choosing to have a child when that child could not be guaranteed a good i.e. middle class upbringing is widely criticized, the only case in which a single woman choosing to become a mother is praised is the case where the woman is mature, capable and socially supported by other capable people whether servants or friends/relatives, and financially well-off. The TV show Murphy Brown was a famous example of this. More recently women in the 30-40 range who have been unable to find a husband but want a child and seek a boytoy or one-night-stand to accomplish the pregnancy are called cougars. So my intent with emphasizing that Omilla at first waited and hoped to fall in love with a man who would be her husband and the father of her children, and after giving up on that was careful to make sure that she could afford to raise a child well, is to show that she is responsible and conscientious, both in general and specifically toward the child she wants to have and be the loving mother of.

I'll also add a brief note on the word sire since I find this interesting. In modern usage sire is indeed most relevant to horse breeding. It's not a disrespectful term because a sire is carefully selected for good traits that he will hopefully pass on to his offspring. The human equivalent would be sperm donor. However I was imagining the story in a historical fantasy setting where sperm banks do not exist and the phrase "sperm donor" would be an anachronism. The word sire was historically used in English to mean both people and animals and was not considered impolite. The term sire meant father in the biological sense, while the term father emphasized the social role of parenting. Kings and lords also were referred to as Sire because they were metaphorically the father of the people under their military, legal, and financial protection and leadership, while the term Father was instead reserved for religious leaders who supposedly parented and taught the souls of the people under their religious leadership (especially in a Catholic context).

I want to help design a "sandpark" MMO. Optional interactive story with quests and deeply characterized NPCs, plus sandbox elements like player-craftable housing and lots of other crafting. If you are starting a design of this type, please PM me. I also love pet-breeding games.


#50 Wai   Members   -  Reputation: 1003

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Posted 25 October 2011 - 10:47 PM

(Continue from #40, re: #41)

"A car was about to go through the car wash. In the car, there were a man and a woman. The man was the driver. The woman was the front passenger. She was looking up and out her window, while the man was pushing the button to start the car wash. After closing his window, the wheels of the car was locked. As the car was entering the car wash, he closed his eyes to rest. The car was in the car wash for a couple minutes, when it came out on the other side. The woman still had the same pose, looking up and out her window. The man's eyes were just opening as if he dozed off inside the car wash."

She paused and said, "That was it. It was pretty short and neither of them spoke. But it must have some significant meaning because it kept on repeating. What do you think it means?"

I thought:

a) The couple had a fight.
b) Who was the shadow?
c) What was the weather?
d) What kind of car was it?
e) Were they wearing seat belts?
f) Something happened inside the car wash.

I asked, "Who was the shadow?"

I used to think that Skyle had a problem describing what she saw inside people's minds. However, I have learned that she does not always remember what she saw, and sometimes what she saw was so ambiguous that all she knew was what she said. But this time, she seemed too careless. She didn't even mention which character was the shadow. She said,

"I couldn't tell because they were in the shade of the car. But since the scene kept on repeating, I think there was something abnormal about it." she asked, "If you were to guess, who do you think it was?"

I thought:
a) The woman, because she was the passive one. Shadows usually have passive minds.
b) The woman, because the man closed his eyes.
c) The man, because the woman was not looking at him
d) The man, because he was not looking at the woman
e) Both, because they were equally shaded.
f) Neither, because they were equally shaded.
g)

I said, "There was no shadow there, wasn't it? You saw the man pushing the button. If he was a shadow, you would have seen it. Since they had the same shade once his window was closed, you knew that the woman was also not a shadow. You kept seeing the same scene because you kept going back to see it."

Skyle's face looked flustered. It was her caught-red-handed expression. She wasn't angry, she just felt stupid for realizing that that was what happened. I said,

"That's okay. If I could go into people's mind I would be curious too. I would probably spend the whole day doing it and never come out until I have to."

"I'm a really bad girl, ain't I?"
"Isn't that obvious?"
"But I still want to know why that scene kept on repeating."
"Whatever it means, it is that person's secret. You are not supposed to know it, so just let it go and move on to the next one."

Skyle took a deep breath. Then there was a somewhat awkward silence. I was expecting her to say something, but she didn't. We were just going back and forth on the swings.
Her eyebrows were level, her eyes were cast down, her lips were slightly parted at first, but soon turned into a light smile.

I thought:
a) I said something wrong and Skyle found it funny.
b) Skyle wanted to tell me something but didn't know how.
c) Skyle wanted to tell me something but haven't decided whether to.
d) Skyle decided to go back to uncover the couple's secret regardless.
e) Skyle had a secret that she wasn't going to tell.
f) Skyle was happy not knowing their secret.
g) Skyle had a shadow that had just disappeared.

#51 sunandshadow   Moderators   -  Reputation: 6644

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Posted 28 October 2011 - 12:50 AM

I wonder if it's possible for a relationship to have a shadow if neither of the individuals involved do. But I'd pick D, or that although she was annoyed to not know, she resolved not to investigate because it wasn't appropriate.

I want to help design a "sandpark" MMO. Optional interactive story with quests and deeply characterized NPCs, plus sandbox elements like player-craftable housing and lots of other crafting. If you are starting a design of this type, please PM me. I also love pet-breeding games.


#52 Wai   Members   -  Reputation: 1003

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Posted 01 November 2011 - 04:19 AM

(Re:)


"Whatever it means, it is that person's secret. You are not supposed to know it, so just let it go and move on to the next one."

Skyle took a deep breath. Then there was a somewhat awkward silence. I was expecting her to say something, but she didn't. We were just going back and forth on the swings. Her eyebrows were level, her eyes were cast down, her lips were slightly parted at first, but soon turned into a light smile.

I thought:
a) I said something wrong and Skyle found it funny.
b) Skyle wanted to tell me something but didn't know how.
c) Skyle wanted to tell me something but haven't decided whether to.
d) Skyle decided to go back to uncover the couple's secret regardless.
e) Skyle had a secret that she wasn't going to tell.
f) Skyle was happy not knowing their secret.
g) Skyle had a shadow that had just disappeared.

I didn't know why she smiled, but somehow I didn't really care why. People always ask why people are happy, but happiness needs no reason. Being happy is the normal way to be. It is the feeling of a grateful breath. It comes with the state of mind that wants nothing more than what it has. Skyle stopped swinging and said,

"Actually, I don't want to keep looking anymore. Do you know, most people are happy, including those that have shadows? At least that is how I come to see them when I see their shadows. I no longer feel sad for them, I no longer understand why they would feel sad. When I see them, I no longer feel intrigued to solve them. Instead, I just want to hug them and tell them, 'Do you know? it's okay,' but no one would understand, and I no longer remember how I got to where I am."

She looked at me with her smile, then continued,

"Solving shadows and knowing the truth didn't make me helpful. The Skyle you know has become completely useless to anyone."

This time, her eyebrows became slanted downward. She was still smiling, but it was no longer the light smile she had. This expression had a different meaning.

I said,
a) "Don't stop now--if you stop I would have nothing to write..."
b) "You went too far ahead--you need to slow down so people could catch up."
c)

I got off the swing. She got off the swing. I held her in my arms and said,

"And that's okay too..."

Her hands loosely hooked on the back of my shoulders.
She closed her eyes and fell asleep on me.

* * *

A car was about to go through a car wash.
A man was in the driver's seat.
A woman was in the front passenger seat.
She was looking at the reflection of the man in her window.

She saw that he pushed the button.
She saw that he closed his window.
She felt that the wheels were locked.
She saw he closed his eyes
As the car was entering the car wash.

The water and the rotating brushes were making a storm.
In the reflection, she saw that he was asleep.

She turned her head to look at the sleeping man.
She looked at his closed eyes.
She looked at his hands resting on his knees.
She looked at his closed eyes again.

Quietly, she brushed off the seat belt on her shoulder.
She placed her other hand carefully to support herself, as she leaned toward the man.
Inches before the man's face, the woman parted her lips, but stopped,
as if something was holding her back.

She was about to close her eyes but:
a) She saw the light from the exit of the car wash.
b) She saw that the man was waking up.
c) She noticed someone in the backseat.

#53 Rav3nSt0rm   Members   -  Reputation: 100

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Posted 02 November 2011 - 04:02 PM

I have a game story current in my mind. When I think about it I don't write down cause the words will not come out correct.
And sometimes I can see the movement of the character, but i haven't or can't define who there are. Sometime I walk around
to get idea for this story.

~ RPG Project ~

Elementium: ????
----------
This is world where a race of beings came into the world. This race was call Elemtium there people born from the certain element with a
birthmark will give off. They look human, however, the elements can give a physical or nature change with them. Each birthmark will look
different to the each race element, not one will look the same. The fantasy world timeline I dont know yet because it hasn't reach me.
After the elementium came into this world there was some wars and some country welcome the race. Then they were welcome to the world and
ruins that not been discovered been open. Later after those event there were some that were not please with it and create group which grew to the point where they create chaos where ever they been searching for something. This is what affect these five individual character that I want to use for this story. Each character is soldier, princess, medic, history teacher(with a hidden agenda), and a fighter. The main character the soldier she wants avenges for what this group has taken her parent lives. The other characters beside her were effect in different ways princess had to go become someone else cause of fear that the group will get her like they killed her mother.




Tentative - Elementium: ????
-----------------
Part 2 - That I am not do that one, but its a continue
Introducing three new character.


Tentative - Elementium: ????
----------------
Part 3 - The Finale
All the character from part 1 and 2 are in.

#54 Gantz   Members   -  Reputation: 143

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Posted 09 November 2011 - 07:04 AM

This is the last project I released but since that I've started working on a couple of other ones. I collaborated with another writer for this project it was interesting and fun to work on. I tried really hard to get feedback before it came out but failed pretty hard so I'm determined to make sure that the next Visual Novel I release is much better and contains more interaction.
http://marketplace.x...15-d802585506a7

It's so hard to find the time to work on anything right now since I've just started a company with some friends, maybe I should start writing on the train :)

#55 Beige   Members   -  Reputation: 188

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Posted 09 December 2011 - 12:43 PM

I've been away from writing for a while, and am just now starting to get into it again. It's interesting to revisit previous work from a new perspective, and one of my projects is to do a complete "pass" on various ideas that never quite made it off the launch pad. Most of these ideas were too broad in scope to be practical in implementation by a one man crew, but it's fun to iterate!

One of the projects I was working on was a text adventure where you play the role of a company-grade officer in the military. Instead of the typical Call Of Duty most-interesting-man-on-the-battlefield approach, you instead are one of the people who must plan and implement missions for a greater strategic objective. In this case, being in charge of leading a provincial reconstruction team as they are tasked with restoring social and economic stability to a war-torn village. While there are certain events hardcoded to take place at opportune points in the narrative, many of the smaller interactions would be randomized based on choices you make. Not just how you deal with the locals of the village, but how you treat the people serving under your command. A little bit of Persona, a little bit of Once an Eagle.

Militarism in games is a topic that, I feel, has not yet been dealt with in a mature manner. To do so, while still keeping the game itself compelling and not letting the experience become overwhelmed with the mundane... that's the challenge.

#56 AltarofScience   Members   -  Reputation: 935

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Posted 20 December 2011 - 10:02 PM

happy 80s-style science fiction and fantasy ... what catches my interest about a story idea is the escapism and wish-fulfillment that accompany the exploration of themes and identity



Do you mean things like The Neverending Story?

That's a pretty good example, although not quite what I was thinking of since it is a children's movie and I was thinking of more grown-up fantasy and science fiction and also anime made in the 80s. Basically I love 80s culture, there was a lot of optimism and self-confidence there that our culture doesn't have today. Postmodernism replaced that with ambiguity and a mix of cynicism and depression in the 90s. I was born in 1980 and grew up with hair bands, punk fashion, MacGyver, Jim Henson and George Lucas movies, the original Transformers and My Little Pony series, and the general impression that humans would soon be flying starships and genetically engineering pet dragons and spending their free time in virtual reality. My favorite science fiction and fantasy novels are mostly ones which were written in the 80s because they show worlds with that kind of culture. When I look at new fiction on bookstore shelves it's often dystopian, gritty, ambiguous, bitter, morose, or if it's positive it's about making do in a mediocre situation with a tight budget and frenemies, finding humor in one's inevitable failures. That's just not what I want to read.

I want to read about the team of bumbling and basically harmless villains who struggle perpetually against the equally bumbling and dumb but sweet heroes. I want to read about the guy who goes around playing elaborate non-cruel practical jokes on everyone, and the guy who can fix anything with bubblegum and a piece of wire. I want to read about masquerade balls where everyone gossips and finds each other ridiculous but just smiles benignly, and arranged marriages that work out happily. I want to read about futuristic societies I'd actually enjoy living in, and human/alien romances that work out happily, and telepathic bonds between a dragon and a rider or a mecha and a pilot. I could go on at ridiculous length here. :wink:

Have you ever heard Bowling For Soup's song 1985 ? I can definitely identify with that woman, although she's a bit older than me so the cultural landmarks are slightly different and I'm not married and don't have kids.


I get really anal about this but that song is only covered by Bowling for Soup. There is an original version with different culture references by the original band SR-71 and it was written by Mitch Allan. I like his version better.

#57 LarryADaniel82   Members   -  Reputation: 105

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Posted 04 January 2012 - 09:02 AM

I've spent my last winter writing a storyline for my first big project (a 3d openworld rpg) "The Mssengers".
The story is about a guy that was partying one night and got into his car to go home drunk off his feet and does the eventual dui crash and kills a family in the process. He goes to prison and eventually is released and gets a vision from GOD to become a prophet. He is given a guardian angel to watch over him and he starts doing community services around the city. In the game you switch back and forth from the prophet and the angel to accomplish tasks and spread the gospel to the citizens of the city and eventually stumble upon a plot of this cult of demon worshippers and get wrapped up in converting them to Christianity.
Thats the gist of it but there is more detail as you would guess.
As I learn more about the game dev business I want to make this game and think that it would be a decent hit.
tell me what you think.

#58 Gregory Aaron Martin   Members   -  Reputation: 160

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Posted 11 January 2012 - 05:25 PM

I like the stories most often that come to me in a dream. But as for ones that didn't, epic stories of grand adventure that know when to buckle down and hit at a personal level. That's how I often write.




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