Continued Griping About And Associated I Told You Soing Of To The Stupider Rick And Morty Fans

Look, not all the blog posts can have snappy titles.

I’ve talked before about how a lot of the theories about the ways in which Rick and Morty series creators Dan Harmon and Justin Roiland are trolling the audience are dumb. Many things are taken to be signals or jabs at the audience that pretty clearly aren’t (I’m not even fully convinced that the Red Grin Grumble gag is a shot at a segment of the show’s audience, even though it actually works as one). Certain fans regularly read troll moves or setups for them where there’s little or no evidence that they’re actually there. It seems like after the April Fools unjoke and a couple of troll promos, certain members of the audience have become convinced that “fucking with fans” is the only trick Dan Harmon and Justin Roiland know, to the extent that they’ll dedicate entire episodes or even season arcs to it. Harmon and Roiland were really fucking straightforward with the premise of Rick and Morty from episode 1. It’s a show about wacky high concept sci-fi adventures.

I’m talking about it again now, because smug self-satisfaction is easy and writing actually useful content is hard. Season 3, Episode 8, Morty’s Mind Blowers, has two different lines where Rick denies color-coding the memory vials being viewed. Despite this, the vials do in fact conform pretty exactly to Morty’s guess as to what the colors represent. Rick Sanchez, the character who’s often presumed to be the mouthpiece of the authors when giving an impatient, condescending lecture to Morty and/or Summer, is lying through his goddamn teeth. In several of the wiped memories he’s also depicted as doing something dumb, not in the “Rick’s crazy and does what he wants and dodges the consequences” way the show normally does, but in the “Rick loses a game of checkers to Morty” way. The idea that Rick’s condescension is supposed to be taken as a lecture to the audience by default is demolished, because his condescending assertions of superiority are revealed to be blatant lies.

I don’t think it’s particularly likely that the creators were specifically trying to sink this “Rick is the Harmon/Roiland’s soapbox” theory, I think it was just a dumb theory built on flimsy evidence that inevitably fell down as more information came in.

A Thought On Boy Meets World

Still watching Boy Meets World. Had a thought about season 3. The final episode – the season finale – is about the main character Cory Matthews and how he feels about his older brother Eric Matthews moving out of the house to go to college at the end of the school year. The 90s sitcom Very Important Lesson that Eric learns is that his relationship with his brother is important and they barely know each other and now that they’re older the three year gap isn’t really much of a difference and yadda yadda yadda. It’s brought up a couple of different times that Eric has his own friends and his own things to do and basically just always had better things to do than talk to Cory.

Here’s the weird thing about that. In seasons one and two, Eric’s best friend Jason Marsden (played by Jason Marsden) was a recurring character. In season three, that character makes no appearances at all. Season three’s finale revolves around focusing on his own life while at the same time season three in general has had Eric come completely unmoored from his own social life. It also depicts Eric and Cory’s relationship mellowing out significantly from the second season, when Cory was a seventh grader (his eighth grade year is mysteriously not depicted) and Eric did everything in his power to keep Cory’s existence from reflecting poorly on him in any way at all. Throughout season three, Eric is depicted as having a much greater and much more friendly presence in Cory’s life. So the season three finale is about how Eric never does the thing he is frequently depicted doing (without being dragged into it as he was in earlier seasons) because he’s too busy doing the thing he is never depicted doing.

Also, Cory’s entire eighth grade year isn’t depicted, even though the early episodes of season three pick up right where season two left off. At the end of season two, Cory’s best friend Shaun Hunter has just moved in with his English teacher, Jonathan Turner, a series of events that made sense in context. At the beginning of season three, Shaun has been living with Jon over the summer and they’ve gotten comfortable with each other, but Shaun hasn’t ever lived with Jon during the school year. We know this because in the first episode, Shaun expects he can use his close relationship with his home room teacher to avoid getting in trouble for being late to school and is unpleasantly surprised when Jon flat-out refuses to give him any special treatment. I don’t think Cory and Shaun’s exact grade level is ever specified in season three, but it’s definitely true that they start the season fourteen years old and end it fifteen years old. In American education, that’s ninth grade. Season one they were 11/12, season two they were 12/13, and now in season three they have leaped ahead to 14/15 despite the fact that the gap between seasons clearly only extends over the course of one summer.

It’s not like this kind of sloppy continuity unexpected from a pre-Renaissance television show (and honestly, Boy Meets World doesn’t really get good until a few seasons later – its best episode is undoubtedly the season five episode that parodies slasher flicks). Shaun and Cory’s girlfriend Topanga, the two most significant characters in the show outside Cory himself, both have siblings who cameo in season one that get retconned out of existence when they become inconvenient, so it’s not like sloppy continuity is any kind of stranger to the show. It still rustles my jimmies.

Terrible Writing Advice

I’m gonna do that thing again where I shill the work of someone several orders of magnitude more popular than me as an excuse not to produce real content. Today’s lucky winner is Terrible Writing Advice, a YouTube channel that largely just takes writing advice that’s well-trodden and familiar, inverts it, and then delivers it in a sarcastic tone. The delivery is entertaining and it’s a fun way to get the basics if you’ve never taken a serious stab at writing anything before (or you did, but decided to do so without seeking out any advice on how to be good at it whatsoever, because that’s about the only way you’ll have missed the advice TWA is inverting).

Dinosaur Riding Barbarians: Classes

I’ve written up the major nations for Dinosaur Riding Barbarians, but I don’t think I ever posted the class concepts. Let’s go ahead and fix that.

Beastmaster

The Beastmaster commands a small pack of dinosaur minions, usually velociraptors or deinonychus. In addition to the obvious benefit of leading something like a half-dozen allies into battle, the Beastmaster can set up pack attacks. For example, when one of the Beastmaster’s pets is adjacent to an enemy and another pet charges from the opposite direction, the charging pet pounces and gets extra bonuses to attack and damage, if three pets have a single enemy surrounded, they each get heavy bonuses to their attack rolls, and so on. The Beastmaster himself has respectable attack and defense, and when he has all of his pets available and fighting effectively, he can deal more damage per round than any other class (counting the pets’ damage).

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Quantity Has A Quality All Its Own

The Salt Lake Comic-Con is basically a literary convention, because we have such a high concentration of genre fiction writers nearby that a plurality of the panels here are all about writing. Consequently, whenever Comic-Con is near (by the time this post goes live, it will actually be occurring) I start thinking more about writing. It’s the one creative career I’ve put more effort into than any other except maybe the far smaller market of tabletop roleplaying games. So, y’know, focusing my efforts on that second one was probably a bad idea.

In any case, I was recently linked to this website, and it’s given me very mixed feelings. On the one hand, the specific publishing strategy this guy is advocating is not a bad idea. On the other hand, he’s positioning himself as someone who knows the secret truths about the publishing industry, and while that may be true to an extent, he seems to completely lack any understanding of why what he’s doing works at all.

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The Amazing Spider-Man: A Failure of Themes

Back in the GM’s guide posts I wrote about how theme is critically important to a story, and trying to make a theme work in an RPG is both very important because it’s important to all stories, but also very hard because it’s an improv, collaborative narrative with no revision process. As a sort-of demonstration of this, I’m going to look at how the failures of the 2012 Amazing Spider-Man pretty much exclusively come down to failures of theme. The plot, setting, and characters all fundamentally worked, but the thematic connection between them all was a disjointed mess and it torpedoed the entire film.

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NaNoWriMo Favors Outliners

Quick background for those who aren’t at all involved in the creative writing world: NaNoWriMo stands for National Novel Writing Month. It takes place in November, and the idea is that a bunch of writers (mostly aspiring, I think occasionally a small-time published author deigns to the event) get together and provide support and encouragement to one another while attempting to write a 50,000 word complete novel. All kinds of dirty tricks are seen as perfectly valid to make this work, and considering all the dirty tricks I’m pulling to get my “one blog post daily for a year” goal completed, I can’t fault them for that. For example, if a fantasy writer is having trouble, they can add a few hundred words just by doing a find/replace for their main character “Grothnar” and replace it with “Grothnar, son of Grognar.” It’s a rule that the story has to be not only 50,000 words long but also complete by the end of November, which leads to a lot of literary rocks fall everyone dies endings. It’s against the rules to do any writing before or after the month of November and there’s a sort of gentleman’s agreement, I know it when I’ll see it sort of rule against simply copy/pasting huge sections of work over and over again. The border on this is fuzzy, though, because copy/pasting, say, a prophecy every time it’s recited or a song’s lyrics or that “Grothnar, son of Grognar” trick all fall within the purview of dirty tricks that flagging writers are absolutely allowed and encouraged to use if they need it. There’s not a cash prize for winning or anything, so ultimately the rules are whatever the writer says they are, but these ones seem to be mostly agreed upon.

NaNoWriMo is really popular amongst amateur writing circles, so it’s a bit of a big deal to me that it (unintentionally) prizes one writing style over another. Another bit of background: Fiction writing styles can be broadly divided into a spectrum between two opposing types, outline writers and discovery writers. Outline writers create a skeleton in advance and then put meat on the bones, starting with an outline which in extreme cases (the Snowflake Method, for example) will involve scene-by-scene outlining prior to actually writing a single word of the novel. Discovery writers start with a few ideas, and again using an extreme example, might have nothing but a desire to write at all. Different writers find they do their best work on different points of the spectrum. Discovery writers tend to require many drafts and revisions to turn their first draft into a finished work, while outline writers tend to require fewer. I haven’t heard of outline writers who require no revisions at all, but outline writers who require only one or two revisions to get publishable material crop up now and again.

Clever readers will have seen where I’m going with this already: You can’t write actual words during the month of November, but outlines are totally kosher. Outline writers can do a significant chunk of their NaNo in October, but discovery writers can only play around with ideas in their head and wait for them to gel. The further to each extreme a writer gets, the worse this issue is. Someone using the Snowflake Method will walk into NaNoWriMo with a scene-by-scene outline and character profiles with well-plotted arcs. That’s not to say that using the Snowflake Method will give you an advantage in NaNoWriMo, because if that’s not how you write you’ll just be shooting yourself in the foot, driving out the passion needed to sustain such a project. If you happen to be the kind of person who uses the Snowflake Method (or similar), though, you are at an enormous advantage. You never have to waste a moment on what happens next, because you already figured that out. While you might find yourself needing to do some research for specific details you didn’t think would be relevant until you reached them, most of your research is already done. Additionally, since you have a heavy outline, if you’re not feeling one particular scene, you can dash out a 300 word summary of it and move onto the next, and your outline means that later scenes will not be significantly harmed by the incredibly glossed over nature of the earlier scene.

You’ll also have an easier time in March, which is the much less popular National Novel Editing Month, since editing is generally easier (but not to be overlooked) for more outline-heavy writers. There is no NaNoOutMo, so the part of the year where you meticulously outline your novel is entirely shrouded from view. Even if there were a NaNoOutMo (or really, more like National Novel Outlining Weekend, however you’d hipster that down to one word), discovery writers just wouldn’t be participating at all, so they wouldn’t have an easier victory to balance out the outline writer’s NaNoWriMo advantage. Outlining’s like a a third of the work of a heavy outline process, work that gets offloaded into the drafting or editing stage for discovery writers, who must thus cram that work into NaNoWriMo or NaNoEdMo.

I don’t really have a solution and to the extent that NaNoWriMo has a function at all, this isn’t really a big deal anyway. Particularly, since I lean towards outlining (if you look closely at this blog, you can see that a lot of my posts are filling in outlines, and when my buffer tends to dry up, it’s usually because I’ve run out of outlines and need to lay down some more before I can get any more blog content out), this is really just me having an advantage over the other ~60% of the spectrum who lean more towards discovery than I do. Basically this is just an observation without any real point or argument attached to it at all.

EDIT: After making my own attempt at NaNoWriMo this year, I have discovered that NaNoEdMo is still running, but apparently not really? Like, the website has a list of 2017 winners of the challenge, so clearly it’s still a thing, but also the months of January and February are considered a “Now What?” phase where wrimos (I don’t come up with the nickname) figure out what to do with those 50,000 words they wrote last November, and this Now What? thing is facilitated I think on the NaNoWriMo forums and not, like NaNoEdMo, by a separate group on a separate website? Maybe some of the people exit the Now What? phase and go directly into NaNoEdMo? I dunno, guys. I guess we’ll find out in January.

The Feudalized Empire

Here is the section of worldbuilding that’s basically just “the society is feudal. Fedualism goes to some dumb places sometimes.” If you’re not intimately familiar with how feudalism works and you’d like to know more, you should play Crusader Kings 2. If that’s prohibitively expensive or time-consuming, maybe read this post as a substitute.

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The Sorcerer Clans

Of all the organizations I worldbuilt that one time, I think this is the one that has the most potential to actually be interesting and useful in other settings. This one, or the Miracose Order. Neither of them are really great as-is, but I’m leaving the work of figuring out how to sand off the rough edges to other people, because Comic Con is coming up and I want a buffer.

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