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Author Topic: Story Settings  (Read 520 times)
m0nk3y
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« on: August 08, 2016, 05:13:45 AM »

Here is a story setting I created.

I would like to discuss the potential of story settings.

The story is of a war of good light and evil light.

Good light and evil light are dual concepts. The good of the matter is the sensory aspect, and evil is what's against it.

The cover art would be the antagonist in cutting-edge black crossing the calm blue face of protagonist in two places, with dual handguns.

The protagonist's temple and mouth are crossed.

The protagonist's expression is to depict knowledge of the antagonist.

The protagonist must cross the antagonist with forethought – the antagonist is to be depicted wrathful. This shows the antagonist's knowledge of the protagonist.

On the protagonist's expression, because of his knowledge of the antagonist, he is depicted to counter the crossings naturally. The protagonist's eyes are to register the antagonist, and his mouth is to react to the entirety.

He looks focused on the thought of the antagonist, his mouth straightened. A mark on the antagonist's gun draws half a sad expression.

To conclude on the cover art, the visual side has the capacity for a story, fine details of the crossing are symbolic of the cohesive art. It explains the concept, but not the story.

The antagonist, evil light, has harnessed the speed of light, but the technology is for himself. Nature, in turn, becomes abstracted and diseased by the antagonist's power, but some nature is apt enough to fight it.

The speed of light is the theme to all stylistic aspects, and is the source of the super-natural.

The protagonist, good light, is at the forefront of war.

He is not diseased or abstracted, but he is aware of the danger. The protagonist is sad, but his sadness is a mystery.

Magic artists are those who had an alternate reaction to the antagonist's power. A magic artist is stricken by nature, and is immune to evil light. Magic artists are unstable, but great in war.

The protagonist is a tactician and marksman, with one handgun. He commands six characters all symbolic of colours: a super-solider symbolic of Sepia, a spy symbolic of Grey, a duo of magic artists symbolic of Red and Blue, and an abstract character and a diseased character symbolic of Black.

The super-solider and spy are in a relationship; the super-solider is the strengths, and the spy, the weaknesses. There is duality, and they support each other. The super-solider is fatherly and the spy is motherly.

The duo of magic artists are opposed in character, and they are related on this basis. The Blue magic artist is defensive, and stricken by water. The Red magic artist is offensive, and stricken by fire. The dual personalities reflect their art, and the instability of magic.

The abstract and diseased characters, are an alternate super-solider and spy. The way that they differentiate is the absolution of their personality. Their strengths are stronger, and weaknesses, weaker, but overall less strengths and weaknesses.

The seven heroes can win the war, but only in unity.

The antagonist is the depiction of war, and the heroes reflect the antagonist – they are the depiction of peace, together.

The story revolves around the antagonist, and the protagonist is a symbol of this revolution. The story is the protagonist's revolution of the antagonist, therefore, the protagonist is the story.

Worldly events are to depict aspects of the protagonist's revolution.

In reference to the conceptual cover art, the details symbolic of the cohesive concept define the limits of these events.

Remember the protagonist's expression, the antagonist's crossing and more, but forget not the protagonist, nor antagonist. The 'thought of the antagonist', that's depicted by the protagonist, can be expressed again and again.

Where the cover art shows the protagonist's thought of the antagonist, there could be an event that is symbolic – this event is one of numerous key events.

The thought of the antagonist was stimulated by the crossing at the temple.

A scene: the protagonist crosses the temple of the antagonist, to pacify his own thoughts.

Another scene: the antagonist first crosses the protagonist's temple, leading to his thought of the antagonist.

These are key beginning and end events, and are scarce; however, the passage from beginning to end is worldly.

Any normal event is limited by key events, and is symbolic of the story.

The world is divided into places that symbolize key events of the concept. A place that's like the crossed temple, and a place like the crossed mouth; a good climate and a bad climate, are the most significant environments, and then the additional transitional environments.

There are four types of magic: white, black, dimension and evil. White and black are unchanged.

Dimension magic is swirling and is a sign of good.

Evil magic is singular, and is a sign of evil. A black substance.

The finale is when dimension magic conquers the evil magic, and the universe becomes heavenly.
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