Conversation

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Starting to see the weakness in this structure-driven storytelling approach. It turns characters into non-rechargeable batteries. When they run out of juice, the stories get tedious. Characters as derps. It’s entirely character driven. Community S5, it’s there.
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The plots have no function except as canvases for characters to express themselves. The nihilism R&M has been accused of is also evident in Community S5. Neither show has much to say about the world that’s not latent in a character. Character determines plot.
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This makes me sad. Futurama, South Park, and early Simpsons had much more interest in the world, and more to say about it. They were interested in the world. Rick’s big “the universe is an animal” monologue sums up both shows’ worldviews
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Szplug. I may have disenchanted myself a bit from Harmon’s stuff. The other extreme style of storytelling is extremely interested in the world, and only mildly interested in characters. The hill of exploring the world shapes the characters. They are shallower but live longer.
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Character drives plot = shorter stories about deeper characters Plot drives character = longer stories about shallower characters Simpsons went zombie because it was character driven but the characters ran out out of juice. Futurama, Seinfeld timed the ending just right.
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Plot-driven stories tend to have a certain eager innocence to them, since they approach and learn about the world. Tintin is an example. Every comic book is also an excuse to learn random shit. And it doesn’t feel didactic because it’s pure curiosity, not trying to teach.
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A more adult example is the mysteries/thrillers of Dick Francis. They’re all set in the horse-racing world, and all explore some random nerdy things about that world and some other world it might intersect with, like the Diamond trade or something.
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Hmm. Douglas Adams I think almost fell into this trap, but was interested enough in the world to forget the character-driven structure repeatedly and chase down random insights into the world. The device of excerpts from the Guide allowed him to insert them.
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Rick and Morty is basically Hitchhikers Guide without a guide checking the nihilism (represented by everyone except Arthur Dent, but especially Zaphod+Marvin). Instead of zillions of encyclopedia entries being teased via excerpts we get Rick’s Derp. Or World According to Abed.
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HHG world-building, while often satirizing SF tropes, invariably had a real insight too. The galaxy according to the guide was a museum of sardonic philosophy lessons. R&M galaxy is a bunch of set pieces for Rick to show off. Still, I like both.
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The cost is that none of Douglas Adams’ characters comes anywhere near as alive as most Harmon characters do. Dirk Gently comes closest. The narcissism of nihilism? The Total Perspective Vortex couldn’t exist in Harmonverse, because Harmonverse is pre-emptively set inside it.
Replying to
Several people have been replying with links to Harmon’s story circle stuff. This tweet is just to note that yes, I read all about it last week, thank you. Good stuff.
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Hmm. Strong vs weak halo effect stories. High vs low charismatic energy. Confidently wrong vs superforecaster storytelling. Harmon is fun but likely on the wrong side of this particular divide.
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Ok the movie Abed makes “Chief Starr and the Raiders of the Galaxy” is awesome and basically the trailer for Rick and Morty
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The two shows I’ve liked recently are at extremes. Expanse is unironically played straight. No genre self-awareness showing through, just technically polished late-stage mature genre art. But clean, without baroque or mannerist excess. Community is 10 levels of self-aware irony.
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Both are very late stage though, in their respective art forms. I haven’t really liked any early stage stuff. Like “quasi-reality cringe comedy about awful people” is a newish genre I don’t enjoy.
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Ah re: Cringe... it’s Millennial cringe I don’t vibe with I think. The older stuff has a clear X-ish sensibility.
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