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One week ago, 11:26 PM #141
Wartooth
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I get really depressed from being unable to tell my story so I will allow myself to spoil some things. If you read my comic, please don't read this as it may spoil some enjoyment. Or maybe it will give you something to look forward to/reassurance that the comic gets crazy.

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6 days ago, 12:37 AM #142
snuffysam

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#11: What scene is the climax of your story?
What scene is the height of the conflict? Is it the climax of every character arc and sub-plot, or are some resolved before or afterward?


The main climax of the comic will be very single (living) character fighting against one extremely powerful magic user.

Definitely not the same climax for every character arc though. Cahe's arc's been done since book 1, a bunch of characters will be done by the end of book 3, etc.
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6 days ago, 1:41 AM #143
megamaster

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Oh jeez, this thread is moving along so quick! I need to catch up so here we go

#06: Why can the core conflict not be resolved easily?
Torin is on a personal journey that will not end until he's had a certain amount of experiences. Furthermore the world is a big place and not easily understood.

#07: What information about the story did you establish in the very first page?
I established where my protagonist has grown up which is critical to his character development.

#08: At what point in the story does the reader understand the central conflict? What holds their interest until then?
The reader understands the central conflict within the first few pages of my comic. Torin is a young individual that is trying to find his self identity despite being an orphan in a very boring and lonely town. To hold the readers interest I am introducing the world in which Torin lives and contrasting it with the exciting life of the city. Therefore the reader and my protagonist both feel this sense that they want to escape.

#09: Where and how do you establish the stakes of the conflict?
I don't want to give away too many spoilers but the stakes of the conflict will be realized at the end of my first arc. Something major happens while Torin is participating in a hover board racing competition that may change his life forever

#10: What scene is the "low point" for your protagonists?
Finally finding something amazing that will be happening in his town (the hover board race), but then soon after being told that he will not be able to participate due to the lack of funding.

#11: What scene is the climax of your story?
You'll have to wait to find out ;)
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6 days ago, 5:57 AM #144
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#11: What scene is the climax of your story?

Again, this is best answered as "per season". Mercy fighting Sinister is the climax of season one. Others are still in the works.
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6 days ago, 12:04 PM #145
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10. SPOILERS

11. There’s usually a small climax in every one of my stories. In the first set, it’s when Arie sees the house. In the last one I finished, it’s when Arie and A’i fall down the hole. Not all of them are exciting but not all of my tales are meant to be nail biting suspenseful action scenes.
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6 days ago, 5:06 PM #146
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#11: What scene is the climax of your story?

I try to give every chapter it's own climax (of a varying degree of "epicness").

Chapter 12's climax though (the one with the demon summoning mentioned earlier) is kinda a special one, because it is the culmination of a chapter-spanning story arc, instead only of stuff built up within the same chapter. Think of it as a "season finale".
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6 days ago, 5:13 PM #147
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This is offtopic, but I read some of that when you posted the link: that was freaky!
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6 days ago, 5:39 PM #148
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We're nearly two weeks in now, the questions are going to get a lot more thoughtful.

#12: What groundwork has to be laid in prior scenes to make the climax work?
The climax, especially in sci-fi/fantasy, usually depends the most on prior scenes to establish how things function. Eg. for the climactic Mt Doom scene in Lord of the Rings to work, earlier scenes had to set up the "rules" of how the Ring worked and why Frodo might not destroy it, as well as the motives of Sam and Gollum. The climax to Inception needed you to know the "rules" about dreaming (particularly limbo and relative time rates), and the actions of certain characters that suddenly make sense after the climactic revelation. What kind of setup does your climax need, and where are you doing it?


My answer:
For a complex time-travel fantasy story, there's surprisingly little narrative setup needed for the climax (I suspect it's a trait of the medium - when your story climax is also the peak of a game's difficulty curve, you let the audience focus their attention on remembering ludic elements, not narrative ones). All the player really needs to grok is the basic (but unsayable due to spoilers) rule of the setting that gets set up in disc two, the new ability the protagonist gets after the intro to disc four, and maybe the general nature of the protagonist and antagonist.
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6 days ago, 5:44 PM #149
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#12: What groundwork has to be laid in prior scenes to make the climax work?

The Adventures of Sir Power
For Power, the groundwork for winning the Ultimate Tournament was defeating all the previous opponents. As for other things, the groundwork is only very lightly implied or I didn't have the chabce to give the exposure neither to the climax nor groundwork

Melancholy
It's the fact that Steven doesn't unlocked his Potential yet despite generally everyone unlocking it while being a few years younger than him
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6 days ago, 5:48 PM #150
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#12: What groundwork has to be laid in prior scenes to make the climax work?


What a complicated question...
I guess, understanding characters' motives, on why they behaved at crucial moments beforehand, the way they did?
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6 days ago, 6:24 PM #151
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12. ...I feel like I already explained a lot of this. Stetson loses her mom, somehow is taken out of the game, and returns with a morale boost. Any more and it'll be spoilers at a level I'm not comfortable with.
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6 days ago, 8:51 PM #152
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#12: What groundwork has to be laid in prior scenes to make the climax work?

1. The character in question has to be set up as being so powerful, it would require the comic's entire cast to take them down. This part's easy - I've already started setting this character up as a powerhouse, and they'll continue to be a powerhouse up until that final conflict.

2. I have to make the character do something to make the entire cast want to fight them. Not gonna say what it is, but it's related to Mizuki's aforementioned low point in Book 5.

EDIT: Oh yeah also I need a cast. That's something that's being set up in the first four books, of course.
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6 days ago, 9:28 PM #153
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GMan003:We're nearly two weeks in now, the questions are going to get a lot more thoughtful.

#12: What groundwork has to be laid in prior scenes to make the climax work?



Ah dooky, this is referring to the other question, right?? Lemme try it...

For UBERNATURA: It's the main characters themselves, without doing spoilers for the climax itself... everyone of the protagonists has familial problems, as I mentioned before. And it's heavily implied at different points that they wanted to be accepted as who they are by these people. But... upon specific events happening, they instead see each other as family.. And it's easy to see even from the first arc, that they treat each other as such/brothers. Their wishes for a actual family and acceptance finally happen, where both: the comic's parody-elements and the main characters' dreams collide perfectly.


For Adveturine: It's the foreboding and dreaded feeling that comes after the 2nd arc... from their to near the end, many villains come after the demon possessed warlock corpse and when it's revealed there's one inside to the characters.. things get darker quickly. The other element is that Aventurine regains it's memory, as I've mentioned: he was a human until he was framed for murder and experimented on. The experiment was to make a supersoldier via using Ichor to make him regenerate from even fatal wounds and heighten his combat power. The other half of this groundwork comes from when the mages took a field trip to the past, and Aventurine attempted suicide by making it's parents never meet.. After realizing this would affect more people than just it, it's greeted by Circe and is told she'll get it and everybody else back into existence, if it gives it's ancestor Ambrosia... she also hints her payment would be something only it could do... This means that Aventurine would have given this food into his family's bloodline, and it's the only one to receive Ichor directly into itself. (Some may already be seeing what I'm getting to) When Aventurine fights the devil with it's full power, it'll be surprising to everybody, especially since it can't use magic..
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5 days ago, 12:08 AM #154
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#12: What groundwork has to be laid in prior scenes to make the climax work?

Before the conflict around Bali and Karolina, there was a good 80+ pages of them just learning to get along and having adventures together. Time is an important ingredient in building any relationship, written or real.
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5 days ago, 2:26 AM #155
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CrosEL:Ah dooky, this is referring to the other question, right?? Lemme try it...


If you're talking about the "what info were you setting up on the first page?" question, it wasn't a deliberate reference. It's just the way I think about stories - I'm a programmer by trade and training, so visualizing a story as a data dependency graph comes naturally. And I read and write a lot of genre fiction, where that kind of question is a lot more important.

The only deliberate thing was clustering a couple of questions about the climax and ending together. I did try to set these questions up with some flow between days.
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5 days ago, 4:46 AM #156
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#12: What groundwork has to be laid in prior scenes to make the climax work?

If we're talking about the main climax to Autumn Bay as a whole, it'll require at least 7 seasons to lay the groundwork for...
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5 days ago, 1:50 PM #157
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#12: What groundwork has to be laid in prior scenes to make the climax work?

Ooh, the climax of Chapter 12 is perfect for that question!

At first we need a villain with a secret agenda.
Said villain already actually appeared at the end of Chapter 1, though a first time reader won't realize that yet.
Over time we are gradually learning more and more about her, up to the point that she tries out the demon summoning for the first time, but fails. (But the readers don't get told yet what exactly she was trying here.)

Then we need items that serve as tools for the summoning. Those are mysterious artifacts of which the protagonists coincidentally find several chapters earlier.

Then we need the demon herself. Similar to the summoning tools, she first appears earlier as yet another mysterious artifact. And likewise to the summoning tools, the reader doesn't learn about this artifact's true nature/purpose until the climax itself.

Last but not least, we have to set a stage, a place were the climax takes place. In this case it is Atlantis. One of the protagonists has a desire to find Atlantis one day, which is again hinted already in Chapter 1.

(And last last but not least, I managed to give an important role in the climax to a character who was originally just intended as a one-shot villain unrelated to this plot arc!)


BTW;
CrosEL:This is offtopic, but I read some of that when you posted the link: that was freaky!

I take this as a compliment. Thanks! ^^
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5 days ago, 6:14 PM #158
CrosEL

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Microraptor:[b]


BTW;

I take this as a compliment. Thanks! ^^


It IS a compliment, even without reading up to that point: I
could tell something was about to go down. It's a feeling
I want to have in UBERNATURA, near the end of every arc..
but have trouble: doing so/expressing tension through
the comic's mostly lighthearted narrative.
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5 days ago, 7:39 PM #159
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#11: What scene is the climax of your story?

With all the pieces of the Shyning collected, the heroes will have to face off against the Starless.



#12: What groundwork has to be laid in prior scenes to make the climax work?

Suzy, B and Ty will have find the Shyning, and importantly, they will have to fend off all others who'd wished to have collected all the pieces to it before them - the weapon's pieces will exchange hands throughout the story in different conflicts and scenarios.
Also, the Starless will have to have some of its minion's plans thwarted, forcing it come have to try to get the job done itself.
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5 days ago, 9:21 PM #160
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#13: Invert your ending. How would things change?
Suppose you made your story a tragedy, and had the protagonist fail in the climactic scene. How would the story proceed from there? What does the world look like in the aftermath? If your story is a tragedy and the protagonist loses, suppose they win instead?

My answer:
The penultimate act of the plot ends with the antagonist outright winning. They get everything they want, and have no opposition left - save for the protagonist, who they almost, but not quite, utterly destroyed. The final act is all about undoing that bad ending, rebuilding your alliances to hopefully win in the rematch. So the hero failing in the final battle just leaves things at the status quo.
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