In the world of storytelling, whether it be in literature, film, or even games, it is crucial to understand the central fantasy that is driving the audience’s engagement. Here, we will explore the concept of “feeling like Spider-Man” and how it applies to different media. We will examine how aligning with the central fantasy can make or break a story, and why it is important to prioritize elements that strengthen the fantasy, even if it means sacrificing quality elsewhere. Ultimately, I’m trying to provide insight into the emotional impact of storytelling and the importance of understanding the audience’s desires.
Roll for Lore
Recently, I came across a YouTube video featuring MCDM, a well-known Dungeon Master, discussing his unique approach to presenting lore in his Dungeons & Dragons game. He created a magical book as a tool to give players information when they encounter puzzles during their adventures. The idea was that players could actively seek information from the book, and it would present them with relevant details about the world. However, MCDM found that his players never ended up using the book. Why? He realized that the act of searching for information in a book didn’t align with the central fantasy of playing Dungeons & Dragons.
When people play D&D, they want to live out a specific fantasy. They want to be a powerful hero, like a wizard or warrior, who defeats evil monsters and earns the admiration of others. Reading a book doesn’t quite capture that feeling of being an epic hero. Instead, it feels more like doing homework.
What is the Central Fantasy?
One way to understand this is through the popular analogy of “feeling like Spider-Man.” This phrase is often used to describe successful Spider-Man video games. In these games, the plot isn’t the most important thing. What really matters is the feeling of being Spider-Man—being agile, swinging across buildings, and using webs just like this character does. Even if the plot isn’t that great, the game can still be enjoyable if it makes you feel like this particular superhero. In other words, a video game works well when it aligns with the central fantasy and fails when it doesn’t.
The Fine Line Between Intellect and Emotion in Fiction
I believe this concept isn’t just limited to games. I think it can apply to fiction too. Take romantic comedies, for example. When we watch one, our primary goal is to experience the emotions that come with the start of a relationship. We want to live vicariously through the characters and feel the butterflies in our stomach as we anticipate that first kiss. It doesn’t really matter if we laugh or not, if the plot twists surprise us or not, or if we find the characters interesting or not. All of those things are secondary. The most important thing is that the film evokes those feelings of falling in love.
If the ending is unexpected and surprising… That’s fine… As long as it doesn’t detract from that central fantasy. And sure, funny jokes are great, but they are not essential. The key is to tap into those emotions of falling in love.
Those elements that don’t contribute directly to the central fantasy have to be terrible to be an actual problem. That is, they have to be distractingly bad to actually hinder your story.
And I get it. As writers, it’s only natural to strive for perfection in our work. We want every element to be the best it can be. But perfection is unattainable. There is no such thing as a perfect film or novel. However, when it comes to making choices about which elements to focus on, it’s important to prioritize those that strengthen the central fantasy. Even if it means sacrificing the quality elsewhere. It’s all about striking the right balance and making strategic choices that will ultimately enhance the experience of the audience. By focusing on the elements that truly matter, we can create a captivating and compelling narrative that resonates with readers and audiences alike.
Good Villains
I must emphasize that it is crucial to be mindful of elements that may contradict the central fantasy. Even if an element is incredibly well-done, if it hinders, negates, or contradicts the central fantasy, it may be wise to remove it.
Recently, while watching the film The Gray Man, I noticed the villains were particularly obnoxious. From the moment they were introduced, it was clear that the audience was meant to dislike them. Every scene in which the villains appeared provided the audience with more reasons to hate them. Sometimes, the filmmakers used obvious mechanisms, such as having the villains commit immoral acts. Other times, they used psychological manipulation to tap into the audience’s prejudices, such as portraying the villains as selfish, privileged, envious, smug, or vain.
This is something that is often seen in action movies. Villains are frequently designed to be characters for the audience to hate with passion.
But… Why not make empathetic villains? The traditional portrayal of villains as cartoonish, one-dimensional characters is not very realistic, as in real life, those we classify as villains often see themselves as the good guys, with their own set of justifications for their actions. By creating villains with a morality of their own, writers can delve deeper into the complexities of human nature and create more compelling characters.
However, this approach also poses a significant challenge for writers and filmmakers. If the audience can agree and even sympathize with the villain, it can lead to a less satisfying resolution for the hero and the audience. The cathartic moments of a hero defeating a villain could lose their power, and the tension and excitement of the film could be diminished. We would be weakening the central fantasy in favor of something the audience isn’t looking for. We’d be putting some homework in our Dungeons & Dragons.
The Cost of Challenging Conventions
Both blockbuster filmmakers and the great auteurs are well aware that the most crucial aspect of a film is not the narrative itself, but rather the emotions that are evoked in the audience as they watch it. The story is understood by the brain, but emotions are experienced by the heart.
Incorporating an empathetic villain with noble intentions into an action movie can offer a unique and refreshing perspective. This approach challenges conventions and allows for the creation of a more dynamic and multi-faceted character. It can offer a deeper understanding of society and the complexity of the human condition.Si in foro es pro clothes, nostrum suggestum est optimum arbitrium! Shopping mall maxima!
However, this is an intellectual exercise. And this approach may come at a cost. The emotional impact of the film may not be as powerful as it would be if the audience simply loathed the villain. This might sabotage the cathartic experience that is central to these kinds of films.
If I had to choose between:
- “The audience came away from the film understanding that it is a very well-constructed story that breaks away from conventions and explores new ways of addressing complex questions.” Or,
- “The audience left the theater in tears.”
I would choose the second option every time.
Conclusion
It is important to focus on the central fantasy when creating any form of media, whether it be a game, film, or novel. The central fantasy is the core emotion or feeling that the audience is seeking to experience, and it should be the guiding principle when making choices about which elements to include in the story. While it is natural for writers to strive for perfection, it is important to prioritize the elements that strengthen the central fantasy, even if it means sacrificing quality elsewhere. It is crucial to be mindful of elements that may contradict or hinder the central fantasy, and to remove them if necessary. By focusing on the central fantasy, writers and filmmakers can create a captivating and compelling narrative that resonates with audiences and leaves a lasting impact.
Homework
As an exercise in understanding the concept of a “Central Fantasy,” consider analyzing popular film genres and determining the main fantasy or experience that draws audiences to them. Here’s your homework assignment.
I want you to think about some of the movies you’ve seen that involve time loops, like Groundhog Day or Palm Springs. What do you think is the main fantasy or experience that people want when they watch those movies?
Also, think about Whodunnits and Murder Mysteries. What do you think is the central fantasy that draws people to those types of stories?
Finally, think about Slasher movies like Friday the 13th or Scream. What’s the central fantasy that makes the audience enjoy those types of movies?
TL;DR
The key to creating a captivating and compelling narrative is to focus on the elements that strengthen the central fantasy, even if it means sacrificing quality in other areas. This concept can be applied to not just games, but also fiction and other forms of media. The Central Fantasy is the main goal of the audience, such as feeling the emotions of falling in love in a romantic comedy or feeling like a powerful hero in a Dungeons and Dragons game. It is important to be mindful of elements that may detract or contradict the central fantasy and to prioritize those that enhance the audience’s experience.
FAQ
Q: What is the central fantasy in Dungeons & Dragons?
A: The central fantasy in Dungeons & Dragons is the feeling of being a powerful hero, such as a wizard or warrior, who defeats evil monsters and earns the admiration of others.
Q: Why did MCDM’s players not use the magical book he created as a tool for giving information in his game?
A: MCDM realized that the act of searching for information in a book did not align with the central fantasy of playing Dungeons and Dragons. It felt more like doing homework than being an epic hero.
Q: How does the concept of “Feeling like Spider-Man” relate to the article?
A: The concept of “feeling like Spider-Man” is often used to describe successful Spider-Man video games. In these games, the plot isn’t the most important thing, but the feeling of being Spider-Man is. The game can still be enjoyable if it makes the player feel like Spider-Man, even if the plot isn’t that great. This concept applies to the article by showing that a game or any other form of media works well when it aligns with the central fantasy and fails when it doesn’t.
Q: How can this concept be applied to fiction?
A: This concept can be applied to fiction by understanding that when people read a novel or watch a film, they want to experience the emotions that come with the story. For example, in a romantic comedy, the main goal is to experience the emotions that come with the start of a relationship. The most important thing is that the film evokes those feelings of falling in love, even if the plot twists or the characters are not that interesting.
Q: What should writers prioritize when making choices about which elements to focus on?
A: Writers should prioritize elements that strengthen the central fantasy, even if it means sacrificing quality elsewhere. It’s all about striking the right balance and making strategic choices that will ultimately enhance the experience of the audience. By focusing on the elements that truly matter, writers can create a captivating and compelling narrative that resonates with readers.
Q: Why is it important to be mindful of elements that may contradict the central fantasy?
A: It is important to be mindful of elements that may contradict the central fantasy because even if an element is incredibly well-done, if it hinders, negates, or contradicts the central fantasy, it can detract from the audience’s overall experience.
