(The following contains Mentions of violence and other acts that may not be safe for young viewers of those easily disturbed or not wishing to be exposed to such content) The comedian serves as a crucial device for characterization and plot within the first three chapters of The Watchmen. Not only is his very presence a mastery in dramatic irony, but his alienation from the team, and the world around him only deepens this sense of solitude. Through the external lens, we receive a unique perspective of the core values of the group at large. Though displayed as the funny man, the comedian, he has the harshest views on the reality in which he lives in. This ideology is even directly compared to that of a much darker character, Rorschach, who even acknowledges that the comedian “gets it”. The comedian sees the darkest sides of the world, and through his own cruel manner of mockery, which is often disgustingly harmful to those around him, he is cast from the world at large and labeled scum. Through context we quickly learn of Sally Jupiter’s seeking of attention, in a gratuitous scene involving sexual assault. We learn of Dr. Manhattan’s apathy in a stunning display of indifference after the comedian guns down a woman which he impregnated. We even learn of Nite Owl’s lack of purpose; through the same scene learning of the self-destructive nature of the society around him, and how they are doomed to die. The comedian is never in the right through his actions, but through them we find all too horrific truths about the characters, and world he inhabits. Eddie Blake is a sick human being who, like a funhouse mirror, is discarded at the less respected corners of society, only able to view others as they view him.
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Many creators strive to drive emotion into the hearts of their audience. And while important, if this mentality is overemphasized it can diminish a terrific narrative.
Take the ending of Game of Thrones (GOT). Many considered the finish to the overall stellar show to be a catastrophic failure. Why? A perceived breach in character. In an attempt to make a large finale that would strike the biggest chord, the writers broke one of the core building blocks in audience investment. From the reception you can tell it wasn't pretty. Compare the conclusion of GOT with a show like Gravity Falls for example. The finale itself, Wierdmageddon, displays the highest stakes and action we've seen in the whole show; along with a heart wrenching change to a beloved character and a satisfying defeat of an antagonist -- an event teased since the first episode. But rather than stop on that note, the writers decided to end on the two children getting on a bus and leaving the small summer town. It feels like a proper conclusion, like every decision would eventually lead to that point. And it yields a huge gut punch, because even though you expected it, it produces such a wide range of emotions. It almost replicates leaving a real beloved place. Game of Thrones also ends with a goodbye and sendoff. But because it doesn't elicit the correct emotional response, this arguably same set of actions results in audiences panning it almost universally. The lesson is simple. Emotion should come from your story -- not a shocker. It is okay to want your audience to feel something. But their investment counts for more than a surprise. The world of emotions you've created counts for more than the singular emotion from a death, ending, or otherwise. Don't ruin your story at the expense of an emotional hook. |
AuthorMcRae Walker, an 20-year-old writer and lover of many dorky topics. Archives
September 2022
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