A Quote by Hidetaka Miyazaki
I believe there are aspects of the narrative that become easier to understand by shifting the focus of the story to the characters. Illustrating growth and change in the protagonist becomes a simpler process, and these changes are, in fact, one of the themes of 'Sekiro: Shadows Die Twice''s story.
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'Sekiro: Shadows Die Twice''s story is one of fate and growth.
Perhaps the tranquillity of 'Deracine' heightens the violence in 'Sekiro: Shadows Die Twice,' while the intensity of 'Sekiro: Shadows Die Twice' makes 'Deracine' all the more serene.
The grappling hook allows for versatile and dynamic movement through the map, while a variety of shinobi-esque tools allow for all sorts of tricks and finesse. These are very important elements of 'Sekiro: Shadows Die Twice''s gameplay and the protagonist's nature.
We brainstorm an idea and then we do flesh it out a little bit - we come up with a script, mostly to have beats and a sense of a story and a narrative arc. Often when we get into the space and onto the location, that changes and something we discover in the moment becomes the moment, becomes the story, becomes the character.
It's true that there was a lot of influence from 'Tenchu.' We even pondered making 'Sekiro: Shadows Die Twice' a part of the 'Tenchu' series at first.
Each story presents a mystery that has to be solved in the process of writing. When I'm at work on a story, I'm completely immersed in that world and in the lives of those characters; they're utterly real to me. Then, when I've completed the story, it all just falls away. The whole compulsion to understand is over.
Also, getting the chance to play a supporting part meant that I didn't have to do as much as the protagonist, such as running around telling the story. [As the protagonist] you push the story whereas, paradoxically, as a character part, you have a chance to explore some of the nuance and some of the more complicated aspects of a character.
Say you have a headline like "Mountain Bike Stolen," and then you read the story, read another story about it the next day, and then the next week, and then the next year. News is a process of expansion, the filling in of detail, and making narrative connections - not based on chronology, but based on features of the story. There are narrative connections made between props, between characters, between situations, and so forth.
With my students, I don't offer any simple tips like that, maybe because my own process is pretty messy, but when we workshop we talk a lot about the deeper subject, which is what the story or novel is about. I think defining a narrative's themes can lay bare a narrative's tensions.
If the point of life is the same as the point of a story, the point of life is character transformation. If I got any comfort as I set out on my first story, it was that in nearly every story, the protagonist is transformed. He's a jerk at the beginning and nice at the end, or a coward at the beginning and brave at the end. If the character doesn't change, the story hasn't happened yet. And if story is derived from real life, if story is just condensed version of life then life itself may be designed to change us so that we evolve from one kind of person to another.
From the initial design stages of 'Sekiro: Shadows Die Twice,' we had the idea of the player being able to move dynamically through a detailed, multi-layered map. We found that a 'shinobi' type character was the key to achieving this in a way that was both realistic and cool.
In fact, some reviewers have said that as they got into the story they forgot that the protagonist is a black woman. They were moved by the story - by the people as a whole - and not by the little things.
I can write a story in working-class Stockholm Swedish, but I'm not going to assume I can perform the same feat with Cockney. I'll focus on adventures in story, themes and structure instead.
Change your story, change your life. Divorce the story of limitation, and marry the story of the truth and everything changes.
With fiction, you are creating an imaginary world. And it can be a very mechanical process. In a fictional film, you create the characters who become "real people" when facing the camera. When you stop shooting, they change their costumes and become someone else. And people tend to believe in documentary more than fiction. Even if the fiction is based on a true story, everybody will say, "Oh, they're only actors."
The first time someone stood up in front of the fire and told the story while illustrating it with shadows on the walls of the quarry, that was the birth of theater.
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