Got A Weird Strawberry In The Pack
Got a weird strawberry in the pack
More Posts from Butchbunkum and Others
Those boots are fire
BLUE !!
if you dont like bush you literally dont deserve to fuck
You see silly weftest, by using a smaller car you’re putting yourself in an unsafe situation. It makes it safer for “people” outside of your car but have you considered: 1) they don’t matter 2) it’s morally reprehensible to care about others. By making it safer for them you are making it unsafe for yourself, an inherently unsafe dynamic. Therefore, the only truly safe thing is to make it deliriously unsafe outside of your car. To keep you safe.
What Do US Vehicle Regulators Have Against Tiny Cars?
Super-small urban vehicles have found a place in European and Asian cities. But in the US, federal and state rulemakers seem determined to keep minicars at bay.
it bears repeating that the cars Americans drive are the product of a very strict regulatory regime, there has not been a free market for road vehicles in our lifetimes.
Rewatching Treasure Planet (great movie, watch it) made realize something about the way that stories convey information to their audiences. There's been a lot of discussion on the overuse of plot twists and how many stories prioritise surprising their audience over telling decent stories. However, if you instead reveal the "twist" to the audience before it becomes known to the characters, you can build tension and stakes. Treasure Planet comes right out and tells you that Long John Silver is the main villain almost immediately after his introduction (And even before he's introduced we're warned about a cyborg, so you'd have to be pretty dense to not put 2 and 2 together and realize he's a bad guy). So when the audience watches him and Jim bond and grow closer, it builds tension for when Jim finds out and it highlights the tragedy of their friendship, because we all know it's not going to end well. Then, after the truth is revealed, stakes are created because we want the friendship between Jim and Silver to be repaired, because we know it was real, but we don't know if can be after what Silver's done. And all of this would have been lost if Silver's true nature had been a cheap plot twist. The tragedy would be completely overshadowed by the surprise and betrayal, and any investment in their relationship would have been built on the false impression that Silver was a good guy.
Another good example of this is Titanic. Even if you were somehow ignorant of the ship's sinking, the film makes sure you know that it sank with its framing device of Old Rose telling her story to people salvaging the Titanic's wreak. And Titanic's plot structure could only possibly work if you know the ship is going to sink. I'm not just talking about building tension, tragedy, and stakes for the characters like with the above example, I mean that if you didn't know that the Titanic was going down walking into the film, the abrupt shift from romance to suspense-disaster would be an increadibly tough pill to swallow. But it works because we expect it. You don't walk into a film called Titanic without expecting the damn boat to sink.
However, the sad thing about both of these examples, is that despite all the benefits that came from telling the audience these things ahead of time, I think the main reason the creators didn't make them plot twists was because they couldn't have. Treasure Island is the single most influential piece of pirate media out there, and you'd have to have been living under a rock for over a century to not know the Titanic sank. So, the writers had to work around the fact that these important turning points in the narratives were common knowledge, and they wound creating incredible stories as a consequence.
I want to see more of this style of writing in stories where the writers aren't forced to do it. We've clearly seen that you can tell some really damn good stories by giving information to the audience before the characters learn it, and I just wish more works would do that instead of trying to surprise people with shocking twists.
Would totally pee out the window just saying
The castle is on the very edge of a terrible precipice. A stone falling from the window would fall a thousand feet without touching anything! As far as the eye can reach is a sea of green tree tops, with occasionally a deep rift where there is a chasm.
-Jonathan Harker, May 8
Now, remember that the Count was originally meant to be Austrian, and his castle to be in Styria, Austria.
Here's what the most famous castle in the region looks like:
