Man, either these fan artists have become Selebus himself or it's a preview, I can't fucking tell anymore especially after that Chinami The Big vs Sister Chika picture.
Btw I'll back at some point, life has gotten unexpectedly busy for me.
Man, either these fan artists have become Selebus himself or it's a preview, I can't fucking tell anymore especially after that Chinami The Big vs Sister Chika picture.
Pretty much all of this game was written on the run lmao. He has key points, but he improvises how he gets to those. It's a normal way of writing and I think most writers do it this way, is just a fun way to do it.
Okay, so there is A LOT to unpack about this event, and I might do it on another post. But let's focus on this one fact for now: When Akira "blacks out" he engages into an auto-pilot that is based on memory, but not simply the memory of his trauma, it's rather the compulsive memory of already having lived that event.
For instance, in "this town has two halves", if you choose to leave Yumi alone, we get:
It's been a long time question of who was making Akira do this, and well, what if it wasn't anyone but the nature of the resets themselves? Actually, what if it was Akira that was making Akira do this? And by that I mean the so many times old Akiras have done this: You have already made your choice. It was himself that made that choice, and he chose it so many times he feels compelled to choose it again, since he's simply too weak to fight the compulsion of repetition.
It was a real question as to who was guiding Akira to Yumi in this, as Pareidolia is the one that tries to get him out of there. If you interpret it as it being his memories of being with Yumi guiding him there, then it makes more sense. Everything he says to her, both in this event and every other that are "supernatural overrides" might as well be stuff he has said to her previously in other cycles. None of them ever weren't the way he feels anyway, just cruder or out of place versions of it.
I've talked a lot about Yumi's beach event so I'll just reiterate with one screenshot that concludes this point on Yumi's side:
The entire event is about both of them recovering part of their feelings for one another from previous cycles, or at least aknowledging they existed. Well, isn't this sentence very damning? Yumi has missed her cue for this scene.
Okay so, why and how Akira can find Kaori so easily, and why/how can she know these things? It's because they're both acting out what has already happened. Kaori knows these things because either Sekaori is part of her, or, and that's where this theory comes into play, because her head's not entirely there. And that allows her to more easily tap into fragments of the script. That's also how Akira always finds her, because he's done it many times over and had these same conversations. And that's also why he knows he's not going to find her.
Anyway, I hope I have properly conveyed why I think it could be huge. We have had theories before that had Akira simply acting in a compulsion to his "inner instincts" and thus eliminating much of the supernatural side of things of him being controlled. And this is not what this theory is. This is Akira being controlled by the compulsion of previous resets, activated by either gods, triggers or overwhelming similarites in reliving events he's lived so many times.
I’ve been thinking about what to do since the next two updates will be split into two parts, and I think I’m gonna wait the extra month to tackle them both at once.
Temptation will try to get me to do it earlier but I’m committed lol. So yeah, if I’m more inactive than usual on here after the 1st, then that’s why.
Hopefully the full experience of Halloween and Reset 7 will be worth it.
Pretty much all of this game was written on the run lmao. He has key points, but he improvises how he gets to those. It's a normal way of writing and I think most writers do it this way, is just a fun way to do it.
Making it up as you go is a terrible way to write, you should have the major plot points planned from the start. Mysteries should only be mysteries to the audience, the writer should already know the answer. I hate that JJ Abrams style of writing, creating "mystery boxes" without bothering to put anything in them.
Making it up as you go is a terrible way to write, you should have the major plot points planned from the start. Mysteries should only be mysteries to the audience, the writer should already know the answer. I hate that JJ Abrams style of writing, creating "mystery boxes" without bothering to put anything in them.
Heh. There's two totally different ways authors approach writing: there are "plotters" who plan everything out meticulously -- their outlines are sometimes longer than their books -- and "pantsers" who... you know. Fly by the seat of their pants.
There are amazing writers in both camps, so I think saying only one or the other is "right" misses the point. (Though one of the more famous current pantsers, GRRM, has apparently written himself into an unresolvable hole, which is why the last book -- two? -- in ASOIAF may never appear.)
Me? I'm a plantser, why do you ask? (I outline, but the characters inevitably hijack the plot at some point; I've learned to go with it.)
(Though one of the more famous current pantsers, GRRM, has apparently written himself into an unresolvable hole, which is why the last book -- two? -- in ASOIAF may never appear.)
It's not that it's an unresolvable hole, it's the problem with pantsing in general, what made/makes aSoIaF so good is it's believability, shit happens naturally, shit happens cause of previous shit that happened, no one has plot armor, the story goes where it goes, it's not lead, it evolves naturally. This is great but it suffers at the end of the story, the need to tie things up is inherently unnatural, it's forced, it feels forced 99% of the time cause it is, there's no true end point for a story that's built around shit happening organically, wherever you chose to call the ending, there's still more after that point, unless you force a bunch of shit to come to a head at once. It can be done, but god is it hard to make it feel natural. GRRM can't do it, his parts have too much distance between them, he gave the outline to the show runners and we all saw what they did with it, the last few seasons were a mess of plot holes, teleporting characters and contrived bullshit all to force the finale and it felt distinctly crap because it wasn't what the first 3 or 4 seasons felt like. Plotters have their own problems but given most stories lean towards plotters over pantsers, i don't really think there's a need to elaborate on that, we all know good and bad plotted stories.
It's not that it's an unresolvable hole, it's the problem with pantsing in general, what made/makes aSoIaF so good is it's believability, shit happens naturally, shit happens cause of previous shit that happened, no one has plot armor, the story goes where it goes, it's not lead, it evolves naturally. This is great but it suffers at the end of the story, the need to tie things up is inherently unnatural, it's forced, it feels forced 99% of the time cause it is, there's no true end point for a story that's built around shit happening organically, wherever you chose to call the ending, there's still more after that point, unless you force a bunch of shit to come to a head at once. It can be done, but god is it hard to make it feel natural. GRRM can't do it, his parts have too much distance between them, he gave the outline to the show runners and we all saw what they did with it, the last few seasons were a mess of plot holes, teleporting characters and contrived bullshit all to force the finale and it felt distinctly crap because it wasn't what the first 3 or 4 seasons felt like. Plotters have their own problems but given most stories lean towards plotters over pantsers, i don't really think there's a need to elaborate on that, we all know good and bad plotted stories.
Well, I think also that GRRM is really good at creating characters you care about and conflict -- and plot twists that bring the two together -- but he just KEPT DOING IT. Making a world that was bigger and bigger and more and more complex and... now he has to tie up the threads. And, as nearly as I can tell, he can't figure out how to do it. His where-I'm-heading in his mind was probably something like the end of the HBO series, but unfortunately that fell flat (kinda had to).
When the main attraction of a series (aside as I said from compelling characters) was the "fun" surprises, you'd better stick the landing, or you'll have a lot of very disappointed fans.
So in that respect, yeah, his plotting let him down.
BTW, not a fan. Read the first book, figured out his game, and stopped there.
Just to throw out a bone to the pantsers... Shakespeare was one. Famously just sat down and wrote, then handed what he'd written over to the actors. Mind, he stole all his plots, so maybe that doesn't count. Heh.
Well, I think also that GRRM is really good at creating characters you care about and conflict -- and plot twists that bring the two together -- but he just KEPT DOING IT. Making a world that was bigger and bigger and more and more complex and... now he has to tie up the threads. And, as nearly as I can tell, he can't figure out how to do it. His where-I'm-heading in his mind was probably something like the end of the HBO series, but unfortunately that fell flat (kinda had to).
I don't think the ending as it appears in the HBO series was all that bad, plot-point wise. It was that the entire last season felt like 5 seasons run through Spark-Notes style, so there was no connective tissue justifying plot or character progression from one point to another. All if it, there was a completely understandable and workable way to get from there to here, they just didn't bothering SHOWING any of it. Presumably, in the last two novels we'd actually get that progression so it'd be more palatable.
I think it's more likely that he painted himself into a corner, and doesn't like any of the ways out of it.
That, and he's a man driven by spite, so every time someone demands Winds of Winter comes out, he adds a year to the release date.
