Cloyd & Sis

Cloyd and his Sis are running up a hill, away from their home

Come on, Cloyd! Are you coming or not?

What if Ma finds out?

Ma's DEAD now, Cloyd. If she DOES find out, she cain’t DO nothin.

Sis sits on a tree stump for a rest, far away but still within sight of the house

oh BOY does my toes smart, Cloyd. Let's us sit here a bit. I can still see the house.

We see a Putz, long basset hound chasing after them up the hill

Hey, it’s Putz! Putz is coming, sis!

Well, beckon he BEGONE! We dun need PUTZPRINTS followin us aroun.

Cloyd pets the dog intently

Putz ain’t gonna LISTEN, he’s too DUMB.

Sis stands up again, resolved

We should get goose-steppin’, if we ever want to see the COSMIC KINGDOM!

-

Sis and Cloyd walk into a midwestern town

Where ARE we, sis?

It’s BOOSEVILLE, Cloyd! Ain’t you ever take ‘RITHMETIC?

Sis and Cloyd are at the counter of a malt bar

One MALT; ditch, please.

the man behind the counter eyes them suspiciously

You kids lost?

("bug juice fer me", orders a stranger in the background)

Nah, we’s just on the run. Chasin' the BIG BIGNESS, an' all that.

Yer ma know you’re out?

We ain’t GOT not MA. She’s DEFUNCT.

("and the baby", Cloyd reminds her)

She an’ the baby BOTH defunct.

The ANIMA MUNDI done STRUCKETH DEM DOWN!

~

sitting outside, somewhere in town

Sis, you sure is good at upsetting people.

Those folk know they've got it comin'.

How you figure, sis?

BIG MAN done tole' me, Cloyd.

("yuh?", asks Cloyde)

BIG MAN'S a BIG COSMIC MAN, y'know.

I know.

Them fellas just don' wanna HEAR IT.

Sure can't FEEL IT, neither,

THAT'S their PROBLEM!

Why'd ma and baby die, sis?

SYPHILIS, bonehead! Ain't you never take no GEOGRAPHY?

~

a police officer

You kids lost?

I beg your PARDON--

we're FOUND.

by the SUPRAMUNDANE

I am on a train. The man is asking for a ticket, but I do not have a ticket.

"Please exit the train at the next stop, sir."

But I do not know where the next stop will leave me.
So I stay on the train.

"Sir, I will not ask you again. Please leave the train immediately."
"I do not know where I am, thought. I do not know where this stop takes me."

The man is growing agitated. The man makes a call on his headset.

Quarry

Inspired by the quarry at school, and by Sarah's stories:



we see a line of kids, all smoking or kissing or crying or yelling or talking, they're all smelly:
how much do cigars cost? it depends how much they cost. smoke is disgusting! you're disgusting! i think there's an embargo on cubans

we are pubescent beatniks, we see the party navigating an apple orchard, hopping fences, walking around the woods.

the party whines:
i'm jellylegged! how much further? i think i hear a bear! dan, can we go home?

dan, the party leader, points to a chain link fence:
it's just beyond this, there's a hole in the fence about two blocks that way, he says, pointing, down the fence

they find the hole, and all tumble through, they see a break of moonlight in the woods they have navigated.

they party finds itself at a quarry cliff,
oh, it's so beautiful! this used to be all forested areas.. the water is so blue! those trucks are so tiny!

Cycles Thematics

Here is another study of the thematic progression in the Cycles script.

DRAFT IV

THEMATIC OVERVIEW:

THE ROMANTIC PROGRESSION
(1)time, (2)nostalgia, (3)obsessive love, (4)loving kindness, (5)time ideal
THE PROTAGONIST'S'S PERCEIVED "CYCLE"
(A)age, (B)sadness, (C)stress, (D)love, (E)work, (F)epiphany, (G)death, (H)afterlife
THE PROTAGONIST'S TRUE PROGRESSION
(B)self unlike, (3/B/C)self loathing, (3/D)obsessive love, (4)loving kindness

THEMATIC PLOT:
(1)Anthony feels pressured by time. (2)He dwells on nostalgic thoughts of a past relationship with Jacquie; (3)the relationship is highly obsessive and meaningless. (B)Jacquie realises this and tries to break it off, but Anthony delays it by (3/D)feigning emotional stress. (4)It works for a while, but eventually ends.
(3/D)Anthony begins a new relationship with Sarah, a human embodiment of (4)loving kindness. However, his emotional manipulation toward her drives her to (B)disregard her own needs, and eventually she becomes (3/B/C)self-loathing. Her parents divorce, and she leaves with her father. Anthony is left with nothing but the (3/B/C) knowledge that his own selfishness has cheated Sarah out of her divinely-inspired (4) loving-kindness. By the end of the story, Anthony comes to respect her decision to escape him for himself; and he mutually understands her selfishness. In this, he somewhat transcends (3/D) his obsessive love for her and Jacquie.

CAST:
Anthony
Anthony is intelligent, he is able to make friends because he is personable. He is empathetic, though extremely manipulative. He is the embodiment of obsessive love in this story. By the end of the story, this selfishness necessitates a shift toward loving-kindness.

Jacquie
At first, Jacquie is unfamiliar with emotional relationships. She'll do what she thinks is expected from her, and has little ability to deny Anthony the objectification of her own body and mind. However, she sees through his manipulative nature, and leaves him. Anthony salvages the relationship by pleading depression, though it doesn't last long.

Sarah
Sarah is a devout christian, she is extremely selfless and wants nothing more than to help others. She sees herself in Anthony's misleading demeanor. Eventually, his selfishness leads her to from loving-kindness into self-disgust. Contemplating suicide, she eventually sent away with her parent's divorce. The break from Anthony leads her to once more understand herself, through the loving christian God she was raised up by.

Cycle Comic, theme maps

Here are the maps for all of the themes in the Cycles script. They were completed before the first draft of the script was does.

Storytelling

what is the focus?
where does it start?
where does it end?
Saturday, 01 March 2008
~

Adventure Games and Comics

how does the storytelling medium of adventure games compare to that of comics?

they are similar in myriad respects. they are both linear, they both have a protagonist and "others", they both have a strong sense of environment.

many of the storytelling methods are drawn from movies, albeit often unsuccessfully.

however, adventure games have more depth, as they allow the player/reading to "observe" different objects and reactions which are not necessary for the progression of the story. although this could be achieved in comics, it would be tediously long and the comic's elements may be muddled.

in comics, the writer directs the reader. in adventure games, the reader directs themselves, however, they eventually decide to press onward to discover new things to interact with.