The way this plays out feels Joseph Campbell-ey, with Kay even refusing a literal call before the tension ramps up. Which is not bad at all from a literary perspective, but might cause audiences to see things in terms of the structure of the story rather than as a lesson. So hm, what are some ways to vividly show our protagonist doing the best with what they have rather than living in the past, or than selling out / giving up.
Or maybe Kay has given up initially, and then over the course of the story rekindles an explicit desire to do what’s right now as a direct response to our villain’s self-justifications.
Other rationality skills to possibly include: noticing when you’re writing in the bottom line beforehand, making plans more shock-proof and modular than humans naively want to, explicitly stopping and checking the consequences of a difficult choice, noticing when you flinch away from unpleasant thoughts—sometimes that’s okay, but sometimes you need to do that thing that’s unpleasant to think about.
The story is, in large part, about the structure of the story: Pluto’s tragic flaw is that he’s thinking about his real life in terms of story structure.
Nice story :)
The way this plays out feels Joseph Campbell-ey, with Kay even refusing a literal call before the tension ramps up. Which is not bad at all from a literary perspective, but might cause audiences to see things in terms of the structure of the story rather than as a lesson. So hm, what are some ways to vividly show our protagonist doing the best with what they have rather than living in the past, or than selling out / giving up.
Or maybe Kay has given up initially, and then over the course of the story rekindles an explicit desire to do what’s right now as a direct response to our villain’s self-justifications.
Other rationality skills to possibly include: noticing when you’re writing in the bottom line beforehand, making plans more shock-proof and modular than humans naively want to, explicitly stopping and checking the consequences of a difficult choice, noticing when you flinch away from unpleasant thoughts—sometimes that’s okay, but sometimes you need to do that thing that’s unpleasant to think about.
The story is, in large part, about the structure of the story: Pluto’s tragic flaw is that he’s thinking about his real life in terms of story structure.