His superiors have reprimanded the detective. He has had to act as if he still suspects a man whilst still coming to terms with the fact that it is not, for fear of ridicule. The detective’s belief in the infallibility of science and technology has broken. He feels as if he is a failure and not capable of tracking something that does not follow the laws of nature.
His wife, who is an old friend of the librarian (the second guide), suggests that they talk because of her knowledge of folklore. The librarian firmly believes she understands the situation and implores him to not give up, as there may still be time to save the children.
Also, he thinks back to the promise that he made to his mother in the funeral home, that he would find the perpetrator, no matter what. (I was also thinking that perhaps, as he is now starting to believe in the supernatural, the spirit of his mother could visit him to remind him of that promise).
This moment happens after his trial when Outis is exiled to live eternally in the cave at Sperlonga. Wanting to understand who or what the statues were – if it is now true that they weren’t the gods, heroes, and goddesses they portrayed – Outis speaks to a daughter of Helios who is transporting him back to Italy. In asking who they were, she says: “They are like you and me: earth, matter, dust, seedlings. Nothing and everything.” This quote parallels one in the prologue, which was used instead to detail the contents of Outis himself, as poured out from an amphora: “Half-heartedly, he poured the golden liquid out, thick like honey, flecked with fragments of his divine halls: earth, matter, dust, seedlings. Nothing and everything.” Outis, as nothing, is then made to realize that he is not alone, neither is he dissimilar from anything else. In this quote, he understands that being nothing, or named nothing, is something, and in many ways, everyone and everything is simply a collection of nothings to make something. This is done to help ease Outis' fear of isolation or being ‘othered,' preparing his future as an exile in Tiberius’ cave.
Casey's feeling like a failure at this stage, she feels like it was stupid to think things would be better now and everything's been for nothing. On top of that, there's nothing left that she can do to change it! So, I think she'll call Eleanor (mentor) just before the next full moonand ask to go back to the school, to the world of wolves where she's not looked down on every second of every day. Eleanor will tell her to take some time, the school will always be there for Casey, but the worst thing in life is regret, and if she doesn't try then she'll never know what could've happened. Afterall, Casey's done everything she can to make things right, she should at least give people a chance to see that before walking away forever.
Perfect. She gets the push from the mentor to ‘just keep swimming’ instead of going back to where she started to feel safe. So now she’ll have to change enough to exist within her old ordinary world as a transformed person/wolf.
Hopefully I have understood correctly . . . James gives Kellan permission to physically go after Anthea. Now that Kellan finally realises his closed up nature isn't doing anyone any good. To steal a few of Shelly's phrase . . Anthea accepts the risk that Kellan, her role in fate, posed by this new world. Through a K/A conversation, she realises what the Protector (and therefore Kellan) stands for in this world and that it is something she can be a part of.
I think that this make sense, yes. I’ll have to look at it all together, because these three stages have a lot of overlap…so you’ll see for tomorrow that we’re going to put some things in ACTUAL writing!
The suspension from the school gives the moment of reflection to Nozomi and the rage of parents from her. To her surprise, she didn’t care the punishement from school. Her parents was furious about her secrecy as well as her brief showbiz career. She wanted to go back to the stage more than going back to school, the parents convince her to graduate from the high school first. She decided to return to school after the graduation. During the suspension time, she meets Mari.p and Alex. She asks her what she really wants to do. She tells she is not a great performer, but she is a good musician. Alex suggests she can study music at university that pleases her parents and beneficial to her future career in music.
Mechs of Mars – What gives Harmony Mills permission to keep going after the ordeal, after her father’s death?
It is the return of her Mentor from the Crawler, who reminds her of who father was and what he meant for them all. He was a Corporate Executive, partner to Marguerite, but he saw uncaring greed and desire for profit hurting people, and he rejected all of that to start a new life aboard the Crawler with his daughter, while his son Charibert remained with Marguerite at the Desrosiers Corporation (and had a very different upbringing and outlook of the world as a result). The Mentor reminds Harmony that now that their father is gone, only she can lead the others to stand against her Corporate family in order to save her (adoptive?) Crawler family.
Ohhhh, okay, so maybe this ‘hidden sibling’ thing can be earned if there’s this back story with the mother. This is intriguing—a nature vs nurture situation.
Ok I’ve recast things a bit now I understand better. I think the words I wrote for the Ordeal yesterday seem more related to the Resurrection as you described it, So I have had a rethink:
ORDEAL…everything is awful
Jess sat in front of the Big House at Alert Bay, tears streaming after the things she had read and heard, numb with the futility and self absorption of her own life.
ROAD BACK…Permission to continue
She thought of her mum…she thought of Kleanza Creek, the sun going down, the ice cold waters and her mum’s ashes gathering around mum’s happiest place. And her mum whispered to her…”Everything will be alright.”
Fantastic! (I’m reading this after I commented on what you wrote yesterday!) This all works really well. There are some steps after the resurrection, but we’re not going to fully plot them (I’ll explain in tomorrow’s video). So, to have this come together this well at this point is perfect.
After the ordeal, the community still maintains a herd mentality to protect themselves - and the hero becomes the thing they now feel that they need to protect themselves form, since they are the person the most amount of blame can be placed on following the revelation of the true memory. So the tables have turned - the returning character is now welcomed into the community, and the hero becomes an outcast. The mentor, who has been close to the hero throughout, will affirm this through a brief interaction where they inform the hero they feel its best if they don’t engage for a while. This is the thing that shifts the hero towards beginning to want to change.
For Jackson, the road back begins with him being hospitalised then admitted to rehab. Eliza's is a bit less clear at the moment, unless - having made the physical confrontation with the chaos goblin her "ordeal" too - the realisation that she can't marry Pete is the turning point.
His superiors have reprimanded the detective. He has had to act as if he still suspects a man whilst still coming to terms with the fact that it is not, for fear of ridicule. The detective’s belief in the infallibility of science and technology has broken. He feels as if he is a failure and not capable of tracking something that does not follow the laws of nature.
His wife, who is an old friend of the librarian (the second guide), suggests that they talk because of her knowledge of folklore. The librarian firmly believes she understands the situation and implores him to not give up, as there may still be time to save the children.
Also, he thinks back to the promise that he made to his mother in the funeral home, that he would find the perpetrator, no matter what. (I was also thinking that perhaps, as he is now starting to believe in the supernatural, the spirit of his mother could visit him to remind him of that promise).
This moment happens after his trial when Outis is exiled to live eternally in the cave at Sperlonga. Wanting to understand who or what the statues were – if it is now true that they weren’t the gods, heroes, and goddesses they portrayed – Outis speaks to a daughter of Helios who is transporting him back to Italy. In asking who they were, she says: “They are like you and me: earth, matter, dust, seedlings. Nothing and everything.” This quote parallels one in the prologue, which was used instead to detail the contents of Outis himself, as poured out from an amphora: “Half-heartedly, he poured the golden liquid out, thick like honey, flecked with fragments of his divine halls: earth, matter, dust, seedlings. Nothing and everything.” Outis, as nothing, is then made to realize that he is not alone, neither is he dissimilar from anything else. In this quote, he understands that being nothing, or named nothing, is something, and in many ways, everyone and everything is simply a collection of nothings to make something. This is done to help ease Outis' fear of isolation or being ‘othered,' preparing his future as an exile in Tiberius’ cave.
Fab! This is a real ‘veil lifting’ moment and gives us the reward that is so wrapped up in these three beats. It works really well!
Casey's feeling like a failure at this stage, she feels like it was stupid to think things would be better now and everything's been for nothing. On top of that, there's nothing left that she can do to change it! So, I think she'll call Eleanor (mentor) just before the next full moonand ask to go back to the school, to the world of wolves where she's not looked down on every second of every day. Eleanor will tell her to take some time, the school will always be there for Casey, but the worst thing in life is regret, and if she doesn't try then she'll never know what could've happened. Afterall, Casey's done everything she can to make things right, she should at least give people a chance to see that before walking away forever.
Perfect. She gets the push from the mentor to ‘just keep swimming’ instead of going back to where she started to feel safe. So now she’ll have to change enough to exist within her old ordinary world as a transformed person/wolf.
Hopefully I have understood correctly . . . James gives Kellan permission to physically go after Anthea. Now that Kellan finally realises his closed up nature isn't doing anyone any good. To steal a few of Shelly's phrase . . Anthea accepts the risk that Kellan, her role in fate, posed by this new world. Through a K/A conversation, she realises what the Protector (and therefore Kellan) stands for in this world and that it is something she can be a part of.
I think that this make sense, yes. I’ll have to look at it all together, because these three stages have a lot of overlap…so you’ll see for tomorrow that we’re going to put some things in ACTUAL writing!
The suspension from the school gives the moment of reflection to Nozomi and the rage of parents from her. To her surprise, she didn’t care the punishement from school. Her parents was furious about her secrecy as well as her brief showbiz career. She wanted to go back to the stage more than going back to school, the parents convince her to graduate from the high school first. She decided to return to school after the graduation. During the suspension time, she meets Mari.p and Alex. She asks her what she really wants to do. She tells she is not a great performer, but she is a good musician. Alex suggests she can study music at university that pleases her parents and beneficial to her future career in music.
So she truly decides to just keep going. That’s the perfect road back. I’m excited to see what happens with the resurrection!
Mechs of Mars – What gives Harmony Mills permission to keep going after the ordeal, after her father’s death?
It is the return of her Mentor from the Crawler, who reminds her of who father was and what he meant for them all. He was a Corporate Executive, partner to Marguerite, but he saw uncaring greed and desire for profit hurting people, and he rejected all of that to start a new life aboard the Crawler with his daughter, while his son Charibert remained with Marguerite at the Desrosiers Corporation (and had a very different upbringing and outlook of the world as a result). The Mentor reminds Harmony that now that their father is gone, only she can lead the others to stand against her Corporate family in order to save her (adoptive?) Crawler family.
Ohhhh, okay, so maybe this ‘hidden sibling’ thing can be earned if there’s this back story with the mother. This is intriguing—a nature vs nurture situation.
Ok I’ve recast things a bit now I understand better. I think the words I wrote for the Ordeal yesterday seem more related to the Resurrection as you described it, So I have had a rethink:
ORDEAL…everything is awful
Jess sat in front of the Big House at Alert Bay, tears streaming after the things she had read and heard, numb with the futility and self absorption of her own life.
ROAD BACK…Permission to continue
She thought of her mum…she thought of Kleanza Creek, the sun going down, the ice cold waters and her mum’s ashes gathering around mum’s happiest place. And her mum whispered to her…”Everything will be alright.”
Fantastic! (I’m reading this after I commented on what you wrote yesterday!) This all works really well. There are some steps after the resurrection, but we’re not going to fully plot them (I’ll explain in tomorrow’s video). So, to have this come together this well at this point is perfect.
After the ordeal, the community still maintains a herd mentality to protect themselves - and the hero becomes the thing they now feel that they need to protect themselves form, since they are the person the most amount of blame can be placed on following the revelation of the true memory. So the tables have turned - the returning character is now welcomed into the community, and the hero becomes an outcast. The mentor, who has been close to the hero throughout, will affirm this through a brief interaction where they inform the hero they feel its best if they don’t engage for a while. This is the thing that shifts the hero towards beginning to want to change.
Man, still no notes. You’ve become a master.
For Jackson, the road back begins with him being hospitalised then admitted to rehab. Eliza's is a bit less clear at the moment, unless - having made the physical confrontation with the chaos goblin her "ordeal" too - the realisation that she can't marry Pete is the turning point.
Yes, definitely a turning point for her. She decides to ‘just keep swimming’, and that’s her road back.