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Oni2:Slaves of War/Story: Difference between revisions
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Additionally, Konoko’s values came from the TCTF rather than her parents. What kind of moral framework can Mai possibly have after leaving the TCTF? It’s essential to show character development in response to her experiences in Oni 2, just as she changes in response to Oni’s events. Additionally, strong characters ought to have strong opinions (see “Strong women” section below). What if Mai is gung-ho about the Chrysalis, and then she learns that her Dad didn’t create it, but only found it? This could throw her into doubt about whether we really know what it’s for or how to use it. Her initial worshipful attitude towards the Daodan, and then possible rejection of it, could also represent something about parental attachment and neglect. | Additionally, Konoko’s values came from the TCTF rather than her parents. What kind of moral framework can Mai possibly have after leaving the TCTF? It’s essential to show character development in response to her experiences in Oni 2, just as she changes in response to Oni’s events. Additionally, strong characters ought to have strong opinions (see “Strong women” section below). What if Mai is gung-ho about the Chrysalis, and then she learns that her Dad didn’t create it, but only found it? This could throw her into doubt about whether we really know what it’s for or how to use it. Her initial worshipful attitude towards the Daodan, and then possible rejection of it, could also represent something about parental attachment and neglect. | ||
<div align=center>{{Pullquote|1=Instead [Choice of Romance] gives us elements of what I’ve sometimes seen called the Heroine’s Journey. The Heroine begins from a position of minimal privilege, but has some powerful goal or passion. She may then take on a mentor or helper to assist her in her attempt to escape her traditional role and do what she wants in life. Along the way, she rejects or loses a “typical” romance with a man who wants to protect her but who would stifle her. She undergoes further trials in the attempt to establish herself; if she does marry/become romantically attached, it’s much later in the story, after she’s distinguished herself as an individual and met someone who is willing to regard her as an equal. Alternatively, sometimes she ends up alone but self-realized to some degree. (Examples: Eowyn. Harriet Vane. The Julia Stiles character from Ten Things I Hate About You [which is not really The Taming of the Shrew at its thematic heart]. Arya in “Game of Thrones,” at least so far.)|2=[https://emshort. | <div align=center>{{Pullquote|1=Instead [Choice of Romance] gives us elements of what I’ve sometimes seen called the Heroine’s Journey. The Heroine begins from a position of minimal privilege, but has some powerful goal or passion. She may then take on a mentor or helper to assist her in her attempt to escape her traditional role and do what she wants in life. Along the way, she rejects or loses a “typical” romance with a man who wants to protect her but who would stifle her. She undergoes further trials in the attempt to establish herself; if she does marry/become romantically attached, it’s much later in the story, after she’s distinguished herself as an individual and met someone who is willing to regard her as an equal. Alternatively, sometimes she ends up alone but self-realized to some degree. (Examples: Eowyn. Harriet Vane. The Julia Stiles character from Ten Things I Hate About You [which is not really The Taming of the Shrew at its thematic heart]. Arya in “Game of Thrones,” at least so far.)|2=[https://emshort.blog/2011/06/18/choice-of-romance/ Emily Short]|width=850px}}</div> | ||
====Changes brought on by the Chrysalis==== | ====Changes brought on by the Chrysalis==== | ||