(Continued from "About Twists and Turns" above)

Now that I've been reviewing for a while, I have some new insights -

"The ups and downs should not just be simply offset, but can also be continuously superimposed to deepen the contradictions. A twist and turn can be more follow-up malleable, have an impact on the subsequent plot development, and even have a qualitative change in the mode of the entire contradiction. ”

For example, the good times that follow adversity do not necessarily solve the adversity, but can also postpone the original adversity; Or the good times have no effect on the adversity itself, but it strengthens the protagonist's ability and information side, providing the possibility for the subsequent breakthrough. ”

To illustrate this point, I'll give the example of a small copy of the Circle of Fate that I was looking at. It's just a small copy of the story, and the plot structure is very simple, but it's telling the story.

The process of the World in the Mirror quest is as follows:

The protagonist and his teammates are trapped in a mysterious space (crisis appears, adversity)

・The protagonist and his teammates begin to bleed continuously, and if they can't leave for a while, they will lose too much blood and die. (Deepening crisis, adversity, countdown)

・The protagonist uses props to discover the possibility of leaving the mysterious space - to find a mirror that is guarded by powerful monsters ("Discovery"). Revealing new information) (the possibility of breaking the game, good times)

・The protagonist and his teammates deduce that this mysterious space is actually the world in the mirror ("Discovery"). Revealing new information)

The protagonist tries to lure away the powerful monster (thrilling moment), and at the last moment, his teammates get the key prop mirror, and the two leave (the crisis is resolved)

The whole plot is only three chapters in total, and there are actually no complicated ups and downs in it, and it is not a wonderful plot. However, it can be seen from the leopard in the tube.

What is obvious is that after the emergence of the crisis of continuous bloodshed, the protagonist and his teammates did not actually solve the problem of bloodshed, but only used this crisis as a common "countdown" element in film and drama to increase the sense of oppression. The effects of this crisis continued until the end of the dungeon, and were not neutralized in a quick reversal and ebb and flow.

In various Hollywood popcorn monster/alien films, generally when the progress bar reaches 2/3, the protagonist group will find the key points such as "aliens have a mother nest" / "monsters are afraid of water and magnets". As one of the twists and turns, this plot is not isolated, but provides the possibility for the follow-up plan implementation and breakthrough, provides a direction for the development of the follow-up plot, and creates a sense of expectation for the audience.

To sum up, I have observed many interesting twists and turns in the stories I am watching, repeatedly compared, and further deepened my previous perceptions, and my current perception is as follows:

"An excellent twist and turn is not only a change in the fate of the characters, nor is it necessarily a simple, dualistic direction of ups (good times) and ups and downs (bad times). More importantly, the twists and turns have changed the current situation by introducing new characters, new information, and making the characters' fates better and worse, so they have an impact on the characters' decision-making ideas, goals, and short-term goals, so much so that they determine the direction of the subsequent plot. ”

[The twists and turns have changed the current situation, which has an impact on the characters' decision-making ideas, goals, and short-term goals, so much so that it determines the development direction of the subsequent plot. 】

For example, after "the protagonist group discovers that they can leave the other space by obtaining key items", the short-term goal of the characters shifts from "exploring ways to leave" to "finding a way to obtain key items". In the same way, the "protagonist gets the golden finger" on the street, and the protagonist's short-term goal and follow-up plot will be "research how to use this golden finger".

The same can be seen everywhere in the game. A game with combat elements, after years of industry involution, monsters will definitely not just hold a thick blood bar, repeat similar skills, and let you slowly empty the blood bar.

In order to make the game fun, the designers will constantly create changes during the course of the battle, by amplifying and reducing the benefits of certain decisions, and encouraging gamers to repeat new decisions to create freshness.

Typical examples are as follows (in parentheses are the direction of decision-making encouraged by this twist and turn)

- Monsters are temporarily weakened/frozen and unable to dodge (Output "Window"). Players are encouraged to expend a lot of resources for explosive output)

- Monsters unfold some kind of defense that is difficult to be damaged, such as defensive mode/retreat/unfold shield (encourage players to temporarily stop the output and use specific targeted means to crack the monster's defenses)

- Monsters summon other mobs, mobs can assist mobs/mobs, and some skills of mobs depend on mobs to be cast (players are encouraged to clear mobs first)

- The monster is about to unleash a powerful attack that will kill us violently ("Call General"). Encourage the player to interrupt the monster's attack/use targeted resistance to neutralize the attack/kill the monster immediately if it erupts/evade the attack with its forward swing action)

Generally speaking, the state of monsters in a battle will continue to change repeatedly in the above states, and players have to adjust their decisions many times in such continuous changes, or attack or defend or transfer firepower, looking for the best strategy in the current environment, and get positive feedback because of the correct decisions.

Transform this line of thinking into the middle, and everything suddenly becomes clear.

Suppose the protagonist wants to defeat a big villain, then the twists and turns in the story, in addition to the simple two sides taking out their hole cards and reversing many times, can also have a variety of possibilities. I've scribbled a few possibilities casually-

The protagonist disguises himself as a loyal subordinate of the villain and approaches the villain, only to find that a powerful bodyguard is at the villain's side. (Force the protagonist to postpone the assassination mission for a while, find an opportunity or find a way to break off the powerful bodyguard)

The protagonist fails to assassinate the villain and leaves the scene. (Change the character's goal and subsequent plot to evade the pursuit and gather all the princes to fight the villain.) ）

(Well, the above is changed from the story of Cao Cao offering a knife to Dong Zhuo)

Another villain appears, and there is a hatred between him and the villain (new characters appear, complicating conflicts, encouraging the protagonist to find a way to make a profit)

- The protagonist discovers that the villain is just a marionette of the deeper forces behind the scenes (leading out the forces behind the scenes, changing the target of hatred, and extending the subsequent story)

The villain owes the protagonist a big favor because of an accident (adding new character contradictions, for the protagonist and the villain, the behavior of both parties will have an impact)

The protagonist discovers that the villain is a copy of himself / his right hand / his own half-sibling (······ ）

After the protagonist defeats the villain, he takes the villain's child away (······ ）

The protagonist is pregnant with a villain. I didn't say the gender of the protagonist before, right? （······ ）

cough cough, some of the content is pure joke, but it is indeed quite useful in many family ethics love dog blood dramas.

(To be continued)

(End of chapter)