First of all, let's pretend that the screenwriter thinks a question, how to write a fantasy story?
One advantage of such a theme is that the contrast between an essentially "weird" theme and reality can produce many wonderful stories. It is better to set the conflict of the story based on "contrast".
In order to seek huge differences, the screenwriter's setting of the world view is to directly turn the world over.
First of all, in terms of characters, he needs two people to represent these two worlds: a real-world person who is a little melancholy and sickly, and a powerful person who often goes upside down.
A Will, an El, and then they'll swap - will is kidnapped into the world upside down, his sensitivities are amplified, and el comes to the real world, her superpowers and the unworldly and well-ordered town Ding Ding collision. There will be many stories.
Taking this biggest and most basic difference as the criterion, let's talk about the characters around them separately.
What kind of family and friends will the quiet and sentimental Will have?
First of all he should have a mother who is even a little doting on him. And what is the reason for the mother's nervousness and overreaction? An excuse that applies to women - a failed marriage. These two girls are not enough to support the family. Who is on the other side of the scale to balance them?
Jonathan. He's aloof, reluctant, and eccentric, but he's brave—and not as sensitive as Mom's. He loves his mom and brother, and he comforts Will (I think it's his voice): what's wrong with the freak, I'm a freak too. Freaks are way cooler than normal people!
As for Will's friends, because at the beginning of our pretend screenplay, we thought that Will's going upside down was established first, so looking for him (season 1) and accompanying him to protect him (season 2) became Will's friends task.
To accomplish this task, the small group must first have a leader. He is the protagonist of the protagonist and needs a strong personal touch. He may be sentimental, but he's brave and kind (a bit like the Gryffindor I'd say). For example, insisting on taking Eleven, such as insisting on finding Will, are Mike's cuteness.
Many characters are the characteristic of this play. So the main squad also needs two children, two not quite the same.
Dustin and Lucas. Lucas was a little grumpy.
Dusty is a soft child. I still remember when Lucas and Mike quarreled in the first season, Dusty mediated in it, and pointed out directly to Mike: "He (Lucas) doesn't like your best friend is her (Eleven).", "I have not Hello, I am a transfer student in the fourth grade."
So here I'm going to say, while Dustin was stupid for taking in that monster he forgot what it was called, I think he's excusable. He is a very loving and affectionate little boy.
There are mostly differences on the will side, and the balance of character will stop if it swings left and right. On the Eleven side, there is a sharper, more intense, multi-layered contrast.
Let’s talk about Eleven first. If most of what we saw in the first season was El's goodness, she was as pure as straight out of a laboratory test tube: protection of her friends, her innocence and empathy.
Then this season we saw the upside down of her character. After all, she has never been established with the correct concept of right and wrong. And her ability is so powerful, the pain she suffers is far greater than the happiness she gets, and Hopper's painstaking efforts, she can't fully understand - she is a child after all. It's easy to make mistakes once you're badly guided.
Here we will talk about 8. 8 and El are another strong contrast. By the way I found that screenwriters really know names, eight and eleven, all E-Girl. 8 is El's upside down, living in hatred, seeing only injustice and indifference in his eyes - so he can't get justice and love. El is much like Will, who is set against her, walking between two worlds, and 8 is the monster that ripped her apart. There are two sides to the human character, and there are also two sides to the society. Here, the screenwriter expands this contrast. If the pure eleven is not only placed beside her "reverse world" sisters, but also placed in a bunch of so-called marginal people "Kill Matt Avengers Face League =_=" Woolen cloth?
There are also the style settings of this group of people, in addition to expressing the 1970s and 1980s. . . In addition, we can also find that this is a bad person, and it is the image of a bad person in the eyes of children: a giggling clown girl, a grumpy turkey man, an Asian woman with a stunt hedgehog shape, and Brother Max's indescribable makeup and hair , don't they all look like characters from the comics?
So El's dislike of Max's director didn't hide it, Dustin and Lucas' obsession with Max's screenwriters didn't make any sense, Nancy dumped her ex-boyfriend, and they weren't afraid to lose a better and better image-because it's real, teenagers Well.
Back to differences.
This is diverse, from people to people, to people and society, to people being torn apart by reason and emotion.
Besides Mike, Hopper is pulling her in the real world.
Again, the screenwriter will name it. Here, strong contrasts are used to collide with the story: what kind of relationship will a person with a pot belly, drug addicts, alcoholism, bereavement, divorced, and a girl who comes out of a test tube get along with? How can a person who has experienced so much pain and drunken life be a hopper? But he did take Eleven at great risk. He gave Eleven a warm home. What Hopper taught Eleven is what she should learn most in this season, which is to obey the rules of this world; and what Eleven brings to him is the licking feeling that he lacks the most.
Their relationship is a bit like "This Killer Is Not Too Cold". Although Hopper sometimes yells at Eleven, most of the time, they are still standing on the balance point of their vastly contrasting worlds.
This may be the highest level of contrast narrative: from people and society, and society reflects people. Although we are very different, we can balance the scales.
This is depth.
As for the horizontal, it is better to start with Max. Many people don't understand Max's existence; she follows her divorced mother to a strange home and school. The tyrannical character of the stepfather and stepbrother, the mother ignored, and no one really took care of her. She could not get a little love and protection, but was always held and hurt by her brother. She was like a will who fell upside down, loneliness and fear engulfed her. So Crazy Max and Clash of Small Groups is another spark of difference. A group of children who live in the sun, have friends and family, and a child who has no love will collide and create another story about acceptance, friendship, and love.
She is also different from Eleven, Eleven is so powerful that it is scary and uncontrollable, while Max is lonely, stubborn, and a little cool, and it is easy to make people feel sympathetic and want to invite her to play. It may be that the drama expression is not in place. I think the role of Max is a very important mapping: if the opposite of the normal world has an upside down, and the upside down of Little Eleven is 8, then Max is the opposite of Mike and Dustin, children who are at least normal families. Worldview, character, individual, the screenwriter turned the paper over and wrote. And that's not the most important point about Max. Well, what do we think about fear? Why don't we have Halloween? Children are all afraid of things, spiders, ghosts, ghosts, zombies, all kinds of strange things. My brother was actually afraid of stuffed toys when he was a kid.
So how do we overcome the fear of the unknown and the imagination, and gain the courage to face truth and reality, and ultimately become brave? How do we face the people and things that have frightened us and hurt us, and how do we shout: I'm not afraid of you? For the former, the solution for Halloween is to put on a pumpkin head, or a blanket, or a wig, and make up and pretend to be a ghost, to scare everyone, to tell everyone and ourselves: You see, it's actually me , not scary at all, right! Then we share candy and laughs and dances and goodies and we're not afraid anymore. For those who hurt us, of course, raise the mace like Max and hit. . . Painful place: Say it! Say you won't bother my friend again!
In fact, Ghostbusters is like that. Blindly evading and compromising didn't solve the problem, and the season wasn't over until the lab was closed and the gate was closed. Will's spirit was occupied by monsters, and his mother said: When you were eight years old, I gave you a box of 120-color crayons; I showed the spaceship you drew to everyone who walked into the store; Will said: Remember our first The day we met, I have no friends, I think you should be my friend.
The outbreak of Eleven last season was caused by Mike's injury; Hopper failed to keep his daughter, so he tried every means to protect Eleven; Nancy said, I can't pretend that nothing happened. I can't believe I did nothing for Barb. That's what Stranger Things is about. The bravery of children is not reflected in their daring to face the devil dog in the reverse world, but in their daring to resist and fight for the people they love. In fact, in the process of growing up, we are not only afraid of ghosts, we are afraid of more and more things. We are afraid of our own shortcomings, of others' strengths, of unchangeable families, of unrecoverable lovers, of life stuck; we are afraid of being unworthy of happiness, of having stolen happiness. We ask ourselves: are we going to keep going? Still going to try it? can i still? Am I worthy? What else do we love, what do we hold on to, and what are our dreams? This show is about telling us: yes, be brave. Be strong and love. Be brave for those you love. That's probably why we're so weak and tiny, and we're still firmly occupying the sun-filled world. To stand up, to stand up, and to fight, even if what we have is just loneliness. That's cool too.
————————I am the dividing line for the future plots———————————
From a worldview.
I looked up the antonym of upside down.
right way up. normal sequence.
Ugh. But I think it should be possible to build an upper world to deepen the level of the world view.
This world is above the "normal order" and "reverse world", and it is an existence similar to the realm of the gods.
There is more than one reverse world, there are multiple layers and various reverse worlds, or because now as long as there is a disgusting membrane or hole, one can go to the reverse world, so is the upside down seen now is just a transition? The real evil and dark inverse world is hidden in a deeper place? Do they have some inverse world culture and system?
If the scale of the entire upside down is so large, then projecting it onto people, hunting the inverse world is what the hunters of the "upside world" have to do.
In other words, on Eleven, she used a violent method to resist the reverse world, so is there such a person, such as the reverse world hunter, the soul eater killer, whose talent is to curb and eliminate those terrible soul monsters? ?
If there is such a person, I think it will be the image of some cowboys and old smokers. It must be very interesting to team up with these children.
As for the super-powered kids, only (E-girl) 11 and 8 are known, is that also S-girl6 and 7, T-boy2 and 3, maverick 1 and 4? Even from 8 and 11 Judging from the age difference, the person at the top of the serial number should already be very big, so will the talented boys and girls fall in love with each other, or even have a next generation, such as S-Tgirl, who is more capable? . (The brain is so open that I want to hit the wall).
After all, even if 11 is the last one, there are still 9 unknown, 11 people's permutations and combinations, if they are all filmed, they can make a hundred seasons.
So people are the most variable. Judging from the current situation, 8 still has a lot of room for digging, and 11's mother may also open another era and character, ah, it can be shot much better.
And even if the institute is closed, there will never be fewer profit-seeking people. Creatures in another world may attract fanatical biologists, the terror of another world may attract extreme terrorists, and there is another world that is another space - clearing the monsters, maybe it will broaden the human race. Living space and resources? Or can we create space in a way that reverses the spread of the world?
My brain can probably hold 10,000 devil dogs.
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