Being forbidden doesn't make a relationship interesting. The Romeo and Juliet thing has been spun a million times, and every one of them is shit including the original.
this post was submitted on 08 Apr 2024
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I think I've just reached peak edge Lemmy, where Romeo and Juliet is referred to as "shit."
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Not necessarily a writing trope, but a casting trope in fantasy TV/film that always annoyed me: British accent = fantasy accent. It's not so bad these days, but a lot of 2000s-era fantasy would just have all the actors speak in awfully fake British accents.
Also, not to mention the more poor and stupid people get, the less posh the accent gets. That's a very classest thing that I'm sick of.
That is kind of accurate though if you're basing the story on history. Like if it's Robin Hood or King Arthur then the nobles will sound posh and the peasants won't.
Less of an excuse for it in high fantasy; I guess it's a quick way to telegraph to the audience who's who, but you're definitely right that it reinforces traditional class stereotypes.
Narrative shorthand is still important. Using existing accents, and leaning somewhat into stereotype, can communicate a great deal of context without spending a ton of time on fictional history. Is it lazy? Often, yes. But it works; just like shape language and color coding are useful tools for visual storytelling.
It's so established in the way we tell stories that avoiding these tropes is a deliberate subversion that can be thought-provoking or distracting.
Everyone is speaking english. Even when the story says they is more than one language, the story is full of puns that dependion english, wsear words from english (swearing is realistict in real life but in books exceccs that shold be cut with no harm to the story)
Isn't this just a necessity of the storytelling medium? If the audience is English-speaking then they will appreciate a pun in English a lot more than a sign saying "this is an excellent pun in my made-up language, you wouldn't get it though". Even Tolkien basically says "this whole story has been translated into English"!
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The plot is discovery and progressive revealment of big weird thing. The climax is flashback-heavy explanation of big weird thing.
Just finished watching The 100 on Netflix. The writing was pretty terrible.
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Literally every bad action performed by a character (up to and including genocide) was justified as "I had no choice". They should have called it, "The no choice show". I would have loved to have seen a counter in the corner of the screen that ticked up every time that was said, which was at least once per episode.
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Seconds before any kind of solution that would have solved major problems was enacted, a character (different each time)- previously rational, but now for some reason completely chaotic- would jump in and destroy the McGuffin and fuck everyone over because it was in their personal interest. Every single fucking time, even in the final episode. It's no longer a plot twist, it's just lazy AF writing. It also meant that the characters had no consistency or predictability of motive, which meant their believability went down the toilet.
I'm going to stop there but believe me, that's the tip of the iceberg.
That show was proof that Netflix will greenlight just about anything.
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