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10 days ago, 4:46 PM #101
Jeremy7
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8. It takes a while. Possibly 3-4 chapters in to reveal the vampire conspiracy.

What makes it interesting enough to maintain viewership? If I had that worked out, I'd be more successful! But I'm aiming for a horror-comedy. Sure, the stakes are rather high, but the main character is an overly-excitable alcoholic loser, teamed up with two straight "men" (Jack and Alexi, one's a woman and the other's a monster) and her stoned, paranoid co-worker Krell. And it's not all fun and games, plans for stories include a deranged serial killer who believes he's doing the work of God, Stetson finding out about the truth of her father's death, THEN losing her mother to monsters, a vampire threatening to kill Stetson because of someone on her family tree...

And maybe the monster of the week style could draw in viewers. Not counting on it, though.
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10 days ago, 4:50 PM #102
CrosEL

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#08: At what point in the story does the reader understand the central conflict? What holds their interest until then?

For UBERNATURA: it comes fairly soon, if the first warning didn't make you realize something's wrong... The very next few pages has the first criminal of the series killing someone, then after the other MCs are introduced... he shows up later and kidnaps someone: this results in them having to fight the guy. This shows exactly what'll happen for the rest of the comic- the main characters are trying to live normal yet, fun lives... but theirs a myriad of socio and psychopaths in the world. What holds their interest is hopefully UBERNATURA coming off as a superpower/slice-of-life thing, because the first chapter also surrounds getting a summer job, which is not only easy but fun in the comic..


For Adventurine: it happens at the end of the 2nd arc?? I think... The first arc is a introduction into the series, and what threat MIGHT be coming up.. Of course, nobody cares about the one death that happens in it nor the person it affects, as I'll have to assume that the reader wouldn't of felt a connection to the main and minor characters they just met... But, the 2nd arc begins off with the threat they hinted at being a real and invading thing: After a griffin team arrives and kills many of the minor characters and nearly the afore mentioned one, who lost a friend... the focus becomes apparent and the horrors that come with trying to finally dispose of a demon-possessed corpse is the central conflict until the final arc. As for keeping audience interest until then... I'm going to hope that the characters are doing that, unless they're interested in school life, paladin work, the background-plot or just a magic world in general. The comic goes off the fact that one would stay interested in this world until the terrors happen.
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10 days ago, 5:15 PM #103
gideonland

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Lets get started:
For my webcomic, Nearly Home.



8. At what point in the story does the reader start to understand the central conflict? What holds their interest until then?
Things start to get really detailed in the beginning of Chapter 2, as the heroes are preparing to leave home. A ton of information about what is going on and why it falls upon the protagonists to leave their home and get this job done is revealed. Until then, to hold the reader's interest, chapter 1 is filled with snippets and hints of this information, while exploring a little bit of the characters' personalities and grasping an idea of what kind of action can be expected throughout the rest of the story. Also, great art.
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10 days ago, 6:27 PM #104
snuffysam

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#08: At what point in the story does the reader understand the central conflict? What holds their interest until then?

I suppose the first time we get to see Mizuki's pining in action is Book 1 Chapter 6 (so, over 150 pages in), and we start seeing the superficial way she's treated by other people throughout Book 2 (over 350 pages in).

What holds readers' interests? The fact that the story is made up of smaller episodic conflicts. There's chapter arcs, there's full book arcs, and there's Mizuki's main overarching arc - the latter is the one I've mostly been discussing here, but I bet if you were to talk to fans of my comic they'd be mostly invested in the former two at the moment.
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10 days ago, 11:45 PM #105
Chernobog

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#08: At what point in the story does the reader understand the central conflict? What holds their interest until then?

I know Arachnid Goddess 2 is rather slow paced (thanks to the storybook formatting choice), but the general idea is the first crescendo on page 95 and that sets pace for the story. It's a very gradual prologue and build up until then.

Speaking in meta terms for a moment, holding someone's interest in this day and age is difficult, and not simply due to increasingly short attention spans. The nature of what we do is that we're all competing for what amounts to a subscriber number and a glint of attention for free. In a sense, I try to attract the reader with an odd but deep setting that can allow for logical reader deductions despite being magic heavy, unconventional character designs to enjoy, and sometimes some b-movie quality cheesecake. If I had the choice, aye, I'd probably not do the storybook format and return to the old web comic page format more so, but it would be jarring to change it up mid-stream.
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9 days ago, 1:54 AM #106
Sikyanakotik
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Question 8: Shit Gets Real



And yes, it is frustrating having so much planned out yet still being stuck in the middle of Chapter 1.
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9 days ago, 2:23 AM #107
DiggityDogDingo

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#08: At what point in the story does the reader understand the central conflict? What holds their interest until then?
Some stories start off slower, or more mysteriously, than others. At what point do you expect the reader to know what the big conflict really is?


9 days ago, 2:28 AM #108
SarahSophia
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8.

Urrrrr... not yet??? There are a lot of lead-up stories to get in first. So, sometime in the future.
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9 days ago, 7:55 AM #109
TheStrangerous

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#08: At what point in the story does the reader understand the central conflict? What holds their interest until then?


Probably chapter 2, which is dialog heavy at the start. Opposed to Chapter 1 starting with a bang.
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9 days ago, 7:05 PM #110
GMan003
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Got distracted by work stuff this morning, pardon my lateness.

#09: Where and how do you establish the stakes of the conflict?
The stakes of the story are usually important enough that the audience is told about them, or shown them, multiple times. Where in your story do you hammer home why we want the heroes to win?

My answer:
The fate of the entire world is at stake. This gets shown pretty much every time the hero travels forward in time, and sees the effects of their work, because they've usually made things worse. This gets shown (in various ways) at the end of the demo (halfway through disc one), at the end of disc one, the back half of disc two, continually through disc three, and the entire main section of disc four (excluding the intro and the final boss fight itself).
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9 days ago, 7:12 PM #111
Zero Hour

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#09: Where and how do you establish the stakes of the conflict?

The Adventures of Sir Power
The stakes are established in the first few pages of chapter 3 when Chaos reveals what his goal is, and that is mental and physical annihilation of Power

Melancholy
The seccond page of the comic is basically establishing stake, saying that Steven wants to unlock his Potential and also that he can't afford his flat.
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9 days ago, 7:26 PM #112
snuffysam

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#09: Where and how do you establish the stakes of the conflict?

The main conflict doesn't really have stakes. Like, the stakes are Mizuki's happiness.

That's another thing helped by making the story a series of smaller, simpler conflicts - though those often have low stakes too. Book 2 is about winning a talent show. Lots of characters in the story seemingly die and come back. Etc.
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9 days ago, 7:52 PM #113
CrosEL

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GMan003:

#09: Where and how do you establish the stakes of the conflict?
The stakes of the story are usually important enough that the audience is told about them, or shown them, multiple times. Where in your story do you hammer home why we want the heroes to win?



For UBERNATURA: It's ...not yet on this site, for now, you probably like the heroes and therefore, want to see them win against a: disillusioned alien, homicidal stalker, and currently team of goofy yet very dangerous demons. But what I haven't posted and what's deep into the script is.. There ARE many organizations that are willing to do anything to stand on the top. The very next arc shows one for the very first time in the series ...which happens to be one of the heroes' family. This is when it's bluntly hammered in that there's people obsessed with being Superhuman, and would stop at nothing to become one. While what'll happen will greatly affect Lite (one of the main characters..) it'll also show him along with the audience what threat him and his friends will have to face later... You'll want the heroes to win at this point, too... unless, you like overbearing, perfectionistic, homicidal, occult oriented supremist?


For Adventurine: The stakes are set in the 3rd arc... It's super late for a mini-series... but it isn't until then, that the mages learn that the body of their enemy is possessed by something... something someone was willing to program Homunculi to invade the academy for.. Once they're told this, you'll see a lot of good and/or straight up innocent characters, die.. Unless you straight-up hate them, you'll you easily see what'll happen IF any of the enemies get what they want, and would want them to win.
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9 days ago, 8:53 PM #114
TheStrangerous

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#09: Where and how do you establish the stakes of the conflict?


Arena participants are high value targets/celebrities, just to be murdered/kidnapped/gold dug/mauled by zombie horde of followers or cause riots in the streets...
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9 days ago, 9:00 PM #115
Jeremy7
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9.

The overall stakes are revealed a bit later than the main conflict. We don't know how powerful the monsters are.

However, stakes are pretty high on a personal level at chapter 2, and possibly earlier, because monsters are natural killers. Sure, Stetson can ward off a monster, but others aren't so lucky as to be paranoid for most of their teen into young adult years, so her friends, and her family could be at risk. Plus, there's such thing as surprise attacks. So at any given moment, a monster can kill you.
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9 days ago, 11:41 PM #116
Chernobog

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#09: Where and how do you establish the stakes of the conflict?

I have the main character being rather underpowered for her surroundings and when compared to most other denizens of the world. I feel like small fish in a big pond helps keep a sense of tension. And while the Arachnid Goddess universe isn't quite as kill happy as GoT, characters do regularly fail and occasionally, die.
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8 days ago, 12:11 AM #117
DiggityDogDingo

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#09: Where and how do you establish the stakes of the conflict?


Pretty much from the jump. Although the stakes basically boil around the main characters happiness/peace and quiet. My comic is told from the present reflecting backwards, which while I don't regret...does seem to deflate the most obvious tension point of living through the action.
8 days ago, 12:23 AM #118
Sikyanakotik
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Question 9. Establishing Stakes

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8 days ago, 1:25 AM #119
SarahSophia
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#09: Where and how do you establish the stakes of the conflict?

Toward the end of season one Sinister (Dr. Simon Nestor) lays out what happens (if not clearly) what happens when the old ones come back.
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8 days ago, 6:35 AM #120
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Hi everyone, I'm hopping in late on this craze, lets do a lightning round, yeah?

Only Hyuman (Working Title)

This may get long-ish, so preemptive spoiler
Also, pretty much all of this is spoilers since I haven't published any of this, looooooooool.


9) How know stakes of conflict?
Once Varian's plan is revealed, the stakes should be pretty evident, The world would be totally changed, over half of all technology would be destroyed, Magic will literally not exist anymore. And the nature of the killing spell Varian stole will demonstrate the ease with which he can execute his plan. The spell Varian stole kills all of the descendants of the creature targeted. The Seven Gods are two parents and their five children. All that remains is to kill the other two Gods, who have been sleeping for millennia.

Big Spoiler below
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