A Place For Tragedy


Kaye Haychold's ambitious plan

A Place For Tragedy

Postby Plasman » Wed Aug 06, 2008 4:40 pm

I believe this comment, from Jennifer's latest news update for August:
To Save Her is a noir Unicorn Jelly story. It is dark, it is black and white with deep shadows, and the characters have hidden, and suspect, agendas. It is inevitable that tragedy of some sort must occur, the only question is how, to whom, and what form it will take.
It is my great wish that when this inevitable tragedy strikes, the audience will not be left empty, that although they have suffered a cruel loss, it will speak about the central theme of the tale, that it will illuminate, that it will be a necessary component, and ultimately, not stupid, not pointless. I think, and I have been advised, that I have nothing to worry about. Cruel can be accepted, if it is not stupid, and arbitrary can be accepted if it is not stupid; ultimately everything depends on events not being stupid. Which is to say, pointless.
May the rest of my story not be stupid.
I guess we shall see.

- deserves further discussion.

Does anyone here think that a "so-called" bad ending will ruin the rest of the story for us?
From what I have seen so far, we have already seen signs of what is to come. We know that this story is much darker than PDH, and we've seen many signs of what is (?) to come...

My thoughts are that, so long as it isn't like the ending of The Mist (ie. movie based on Stephen King short story), I will be happy with it.
You haven't seen the movie? Well, let's just say that it has a lot to do with Jennifer's comments in her essay (re. pointless tragedy)... My God, I HATED the way that movie ended... the book was much better IMHO.

Besides, what's the alternative? Give up? Rewrite? Make a (god forbid) HAPPY ENDING?!?
If this last post seems ridiculous, please disregard it. Thank you. ;)
________
By the way I made two level packs for Boppin' in case anyone is interested... :oops:
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Re: A Place For Tragedy

Postby draque » Wed Aug 06, 2008 9:09 pm

Ugh. The Mist falls squarely into Jenny's "stupid" category. To make a movie that shows the pointlessness of death is one thing... a story that illustrates how meaningless death can be has a point. The Mist was a movie that celebrated pointlessness. I came away from the movie having gained nothing. At her worst moments Jennifer can do better than that steaming turd, so I'm not worried TSH will turn out anything like it.
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Re: A Place For Tragedy

Postby Volair » Wed Aug 06, 2008 9:27 pm

I think I might actually have something to add here, seeing as how I have historically been a veritable ~cheerleader~ for happy endings.

I wrote my first comic with the explicit intent to tell a happy story. I think there can be no arguing that I did not do this-- the characters begin essentially happy, perhaps dragging a few lingering doubts behind them, and move through worries and nervousness and self-doubt into a happiness far greater than where they started. I named this kind of story a healing narrative, because I don't think it has a name in literary theory other than, uh, sappy dreck.

I started out fairly turned off by tragedy. I got exposed to a lot of poorly-executed tragedies which attempted to be meaningful but just fell flat in children's books. (This is known as Death by Newberry Medal) So I spent much of my adolescence convinced that tragedy was a cheap trick, something bad writers did to evoke emotional response and thus gain favor with people who enjoy suffering. But since then I have come to see the value of tragedy.

Good tragedies do exist. On my list of now favorite tragedies there are: The Sandman, Moulin Rouge, *cough* The Scottish Play, Watchmen, parts of Schlock Mercenary, Dr. Horrible, and much of the dark parts of Unicorn Jelly, actually.

And my feelings on To Save Her are thus:

No way can this have a particularly happy ending. Kay will fail, Virtue probably can already be assigned past tense given the timeflash from before, and in my examination Pho is probably done for too. Kay's conflict with herself, her sexual obsession/visceral hate relationship with humanity is far too intense to be resolved in any pat manner. Her stopping at any point in the next 16 strips and saying "but-- no, I don't need something so trivial as petty historical vindication..." would be cheap. In a narrative, tragedy is something one builds up to, and the foundations of some kind of fall for Kay have been quite solidly laid.

Jennifer has, in fact, already built us a cushion for this fall, and now that we're close enough to the end to see Kay's downfall coming, I'm terribly grateful for it. The armada of Kays. There's something terrible waiting in the wings for this last Kay, and surely all those other Kays saw it and turned away, decided to live, decided to be happy instead. And when the abyss (not sure if it's actual death yet) claims this Kay, we will all be able to look back to them, after we're done shuddering, and think well, those Kays sure knew what they were doing.

My biggest worry really is that Chou's going to get killed in all this. I'm convinced Jennifer has, if she plans to do so, found a way to make such a death quite meaningful indeed. But after all the buildup to these few beautiful pictures we've seen of her restored to youth and health after the (beautiful) tragedy of her end in Unicorn Jelly, seeing her die would really screw me up BAD.

Like, to poems in silver ink on black paper levels.

-.-
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Re: A Place For Tragedy

Postby draque » Fri Aug 08, 2008 11:03 am

I think one interesting point is that Kaye has essentially made the choice to retcon herself to a heteronormative standard. Given that Trys is a infinitely looping aentropic universe, Kaye will inevitably be born, live and die periodically. Removing the humans before they arrived will ensure that when she's born, it will be a standard, unmutated jelese birth. This is a subject which has been brought up before, and her choice seems to be directly contrary to more or less everyone's here... although this particular Kaye doesn't seem to be all that well adjusted.
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