The Half-Reality of Imaginary Friends

I wanted to end this semester of blog posts and whistles with a discussion on imaginary friends in media. There are a couple of famous examples of this as a centerpiece to the plot, the most noteworthy being Calvin & Hobbes and Foster's Home for Imaginary Friends; at the same time, several stories include (occasionally recurring) sequences where "imaginary" friends don't seem so imaginary anymore.

From what I can gather, most authors that do some kind of imaginary friend story portray them as "real" in a sense. I mean to say that a character (not necessarily the one with said imaginary friend) might find evidence of the friend being real after something happens. This is usually something small, like a note or an item that the imaginary friend handled and changed somehow (i.e.: an item it fixed for its "real" friend). Oftentimes this holds a level of symbolism as well -- it oftentimes makes the characters wonder just how "real" our perceived reality is, whether or not there are alternate dimensions, whether or not they can overlap. It makes me, personally, think about just how little we actually know about the universe, especially when this may not be the universe at all. This may be the multiverse.

Authors like to place a lot of hints on the semi-realism of imaginary friends. In Calvin & Hobbes, whenever Calvin has a fight with his stuffed tiger, he is always seen with the scratches and scuff marks from it, even though Hobbes is technically imaginary. There was a strip of Axis Powers Hetalia where a very depressed Britain, feeling cheated and alone, returned home to find a plate of cookies on the counter -- lovingly made by his imaginary friend, Flying Mint Bunny*.

Anyway, imaginary friends is just an interesting subject I like to rant about. Thanks for listening!

~ Avalon




* No, Mint Bunny didn't commit suicide and turn himself into the cookies. They were peanut butter cookies, you sickos.

No Update Due to AP Testing

I apologize, my watchers. I've spent the last week studying vigorously for the AP Physics exam and tomorrow is the AP Language exam, not to mention all the extra homework and tasks I've had to do in between. I'm afraid I can't get in a decent post before deadline this week.

See you all next time!

~ Dreamnorn

Sarcasm for Characters... and What It Means

Sarcasm is an incredible literary tool for both narrators and characters to utilize -- both when it works for them or when it fails. The way characters use or react to sarcasm can convey or reinforce important aspects of their characters. In this post, I'll attempt to identify "what it means" when characters use or hear sarcasm and interpret it in different ways.

1. The character is a skilled master of sarcasm: in many literary works, there's often at least one of these deadpan snarkers who use sarcasm as a means to convey their cynical or even downright negative outlook on life. Since sarcasm is a form of wit, snarky characters are often intelligent -- relative to their peers, at least -- and use sarcasm, on some level, to demonstrate their superior intellect. Those who are masters at wielding these biting comments often word them bluntly enough so that they can be perceived as insults (and, oftentimes, they are), yet vaguely enough so that dimmer individuals may not sense anything "off" about what they just said.
2. The character sucks at sarcasm: characters who are poor at crafting sarcastic statements, obviously, have little experience in using them. The reason they attempt to wield sarcasm may vary, but I've found that it typically stems from low self-esteem and trying to be accepted in a group as a witty, intelligent member who is worth spending time with. Oftentimes, a poor sense of sarcasm is coupled with their comments unintentionally sounding like complements, which only lowers the character's self-esteem even more and drives them to keep on trying.
3. The character identifies sarcasm easily: the only real unifying traits of characters who easily pick up sarcasm in comments is that they are either intelligent, wise, or socially-savvy. I've seen everything from an easy-to-anger tough guy who pulverizes anyone he feels made a crack at him to a jovial and wise old man who just accepts the comments and lets them roll over his shoulders.
4. The character couldn't locate sarcasm with a glowing neon sign that says *SARCASM*: characters deaf to sarcasm are often portrayed as naive or even downright dumb. It shows a certain level of immaturity in a character, as they are inexperienced enough in social settings to (usually) accept most comments literally. These are the characters that most often perceive the intended insults in sarcastic statements as backhanded complements.

~ Dreamnorn

Tragic Goodbye Tropes

People can never literally be together forever. It's presumably the same in media. Even in stories where two may be physically bound (such as by chains) or metaphysically bound (such as with "voices in your head" or imaginary friends), there will usually be one moment where there is a dramatic goodbye. It could be for a death scene or otherwise, but saying goodbye to someone you care about holds an innate element of tragedy to the point where, even when you know you'll see them again, it still feels bittersweet.

There are a few ways you can create an appropriately tragic setting for any goodbye scene, the first and foremost being giving it a sense of permanence. With no hope for ever seeing another person again or for any form of resurrection or afterlife if it's death, it greatly heightens the sense of significance of a goodbye scene. Another common method is to alter traditional patterns of speech for one or both characters via extra stuttering, labored breathing, or differences in diction or syntax (i.e. a verbose character reduced to few or no words). Time of day or season often works to add an extra element to goodbye scenes, as twilight and autumn are ideal to signify good things ending and fading into the cold and dark. Rain is also an appropriate weather condition to use, particularly when the media of the story is visual. In fact, any of these setting suggestions would work amazingly with creative and appropriate mood lighting and perspective.

Part of what kicks us in the gut most about goodbyes is the prior knowledge of the relationship the characters held. Typically, the amount of time you spend learning and caring for the characters' bond with one another is directly proportional to the emotional punch of a goodbye. After all, it's a lot harder on a person (or character) to permanently leave a best friend or loved one than it is to permanently leave a waiter who served them for all of twenty minutes at Denny's. Because everyone has to say goodbye to people they love eventually, the amount of empathy generally rises astronomically when the audience is fully aware of the relationship these characters held.

There are multiple ways to add layers to death or goodbye scenes -- even ways to turn them into comedy -- but I won't cover them at this time. The tragic cover of rainy twilight skies in autumn still veil me.

~ Dream

Cursing in Media

People swear. It's just a fact. But some people swear more in certain instances than others, and it can be used to convey different effects in real life and in media depending on the word and its usage. While some people with uptight childhoods claim that cursing is indecent and should never be tolerated, it's my personal belief as a writer that all words are fair game in constructing sentences and scenarios. With appropriate timing, character, and audience, swearing can be used to good effect, add seriousness (or silliness) to a work, and more.

Here are a few of my tips:

1. In works generally curse-free, you can swear for emphasis. When a character finally understands how royally dead they are or jams their toe REALLY hard in a doorway, a simple "darn" may not suffice.
   
2. Give foul mouths to appropriate characters. Sometimes it's just more realistic that way. Truck drivers, marines, or perhaps just really angry people are ideal targets. Alternatively, giving foul mouths to surprising character types can make for amusing comedic sequences. After all, who would expect a babysitter or an "innocent" elderly lady to rattle off curse words every sentence?
   
3. Cluster curse words sparingly. Using them for every other word throughout a piece's entirety makes them lose their impact and, for some people, may become hard on the eyes. I recommend only stringing together several in one of two situations: when a non-cursing character gets angry and means business, or to some comedic effect. Even then, be careful to keep it brief -- you don't want them to lose their power by stretching them out too long.

Of course, there are a number of situations where I wouldn't recommend any form of curse word that people may find unacceptable. For instance, works that are made with young audiences in mind. I know that this sounds like it should be intuitive, but Kung Fu Panda received a lot of flack from some parents I know for using the phrase "I sucked." I didn't think it was that bad, as it aptly and effectively described what the character thought of his earlier kung fu performance, but words like suck, crap, hell, and even boob are borderline swear words. Some people consider their usage vulgar and you always risk losing your audience if you include them in words made for kids; that being said, I say that unless cursing or borderline-cursing is absolutely necessary, it should be left out of any work to maintain a wider possible audience.

Ultimately, swearing can be a powerful tool. It relies on precise timing -- and very precise characterization -- but when used effectively, it can bring a whole new level of oomph to (almost) any work.

Teacher Tropes

Today in PreCalculus I started writing this blog instead of doing my homework. This is not because I'm slacking; rather, it's because the teacher who normally has the assignment on the board since the beginning of class decided to wait to give it at the end. Math is fairly intuitive to me and I always try to finish the assigned homework before class ends so when I get home, I can work on more difficult or time-consuming activities. Naturally, I'm a little annoyed at this (hopefully temporary) change, but at the same time, I understand her motives. She rarely gets engaged by the students in the class. Then again, that's part of the difficulty in being a teacher -- dealing with students who don't care about the lesson, or at least seem not to care due to not paying attention while the teacher is talking (even if they're doing something productive like homework). I don't blame her decision, even if I detest the feeling of idleness that overtakes me when I can't complete a task in the time I feel obligated to complete it in.

This incident made me think of teacher tropes. If a show centers around a kid between five and eighteen years of age, chances are some (if not all) episodes will take place at the school, and there will certainly be at least one occasion where the student and teacher characters interact. The principal and lunch ladies (who, for some reason, are always female) can appear as characters as well, but they certainly appear less often than the teachers do.

I've found surprisingly few examples of teachers with one-dimensional personalities in media. Still, you can divide teachers in shows into a few categories.

1. The Sadist. Who isn't familiar with this character, especially from school-centered comedies? They give F's and tons of homework and generally abuse their power over the students. Occasionally their behavior crosses the border from jerkish to downright antagonistic.
   
2. The Bore. I'm sure that at some point in your school experience, you've had at least one of these. Their voice is an endless and relentless monotone so that it takes intense amounts of willpower to not fall asleep while listening to them.
   
3. The Cuckoo. Something in their manner or logic is weird or wild and you just have to wonder what the principal was thinking in hiring them. This can be mixed to some degree with other teacher tropes.
   
4. The Parental. These are the teachers a character can tell just about anything to. Oftentimes they're smart and kind and would maybe even go out of their way to help a student.
   
5. The Shy One. While their proficiency as a teacher can vary, the shy ones are often kind and want the best for their students. They are often pushovers and may take student abuse in the form of spitballs or insults.
   
6. The Tough Lover. These teachers can be sarcastic and tend to believe that lessons are sometimes best learned the hard way. They'll give a student motivation when they're down, but always lets the student find their own way through their problems in the hope that they become stronger.

While I believe teachers in media are often played way over the top, I can't complain about their lack of development because many of them do, actually, get real motivations or reasons behind their character. Anyone who's ever watched Fairly OddParents has seen Mr. Crocker, a sadist teacher type who always tries to catch the main character's fairies -- but he's turned out so badly due to said main character messing with his childhood and ruining his life in a time machine. Mrs. Jewels from Sideways Stories from Wayside School was raised by circus performers, justifying her wild behavior and questionable logic.

If you want more examples of two- or even three-dimensional teacher characters, I highly recommend you check out Ned's Declassified. Not only is the show hysterical and helpful, but the teachers are among the most colorful I've ever seen. They managed to justify the bore teacher type. That takes talent.

Teachers can make fascinating characters. You deal with them for a solid first third or so of your lifetime, so naturally they have a large impact on the way your life can be directed. Can they be exaggerated in media? Most definitely. But if you give them the proper motivation, your teacher characters can be just as awesomely eccentric and interesting as those that set good examples today.

~ Dreamnorn

Happy Birthday... in Comedy!

The other day, I received an invitation to a friend's sweet sixteen. It was a grand invite, giving its recipients the tiniest tentative peek at the larger than life festivities to come. When I then remembered I had a blog post to write, I spent a long time attempting to think of material, but my thoughts were preoccupied on parties with grandeur beyond my imagination.

It then occurred to me to write about birthdays in comedy -- or, more accurately, the lack thereof. Stories that are comedic in nature rarely address birthdays, and even if they do, you never "see" a character age. For example, Garfield is a few decades old, but he literally doesn't appear or behave any differently (even if Jim Davis' art style has evolved since the beginning). Calvin from Calvin and Hobbes literally goes through ten summers and school years while never growing an inch and always ending up back in first grade with Susie Derkins. Does that make their universe inhabited by midgets who never improve past first grade to the point where re-taking it indefinitely is their only option? Of course not. What it means is that the writer is sticking to the concept that status quo is God and that nothing about the setup must ever be changed. Ever. Forever.

While I understand their motives for this, I don't understand why there's practically never a scenario in long-running comedic series that involves a birthday party. In find that depressing because there is so much comedic fodder to be found. Funny stuff happens at birthday parties all the time -- things the host expects, things no one expects, but things that are most assuredly hilarious when played right. It doesn't even have to be a main character's birthday -- it could be any.

Here are a few ideas, all stemming from the key concept that something must go wrong!

1. Chaos with the cake!
2. Swinging from streamers!
3. Bombarding balloons!
4. Dancing disaster!
5. Gift-giving goof-ups!

Seriously, though, you could go nuts.