Something very clear I'm noticing, I think, is the OS Inhibitor. Not to state anything firm about this structurally, but I have noticed it often shows up near the end of the third OS Signpost. I've also noticed this is affected/or affects the RS.
In Star Trek IV, perhaps halfway through the third signpost, the crew has almost everything it needs. Suddenly, Dr. Taylor discovers the whales were shipped out ahead of schedule. You can almost hear the car screech. It's almost a whole different story. She warns Kirk and learns what he's been saying about himself is true... they must rescue Chekov... then go to the open sea to grab the whales.
In The Apartment, I noticed during the third signpost, the IC's suicide attempt, affecting the MC personally, has ramifications on the OS of the apartment borrowing.
That may explain why the heck the Klingons show up in the third Act of Star Trek III. It seems all the options have been exhausted except reaching Vulcan... just at the point the Klingons engage for battle.
While writing this, I'm wondering if it's more than just common to put near the big 3rd Act turn to the final Act. Maybe it's put in after everyone seems to have their options executed or figured out or in motion. I have heard the Inhibitor is like the brake pedal and the Catalyst is the gas. I'm wanting to know how this works in actual practice, and I discovered this.
Discuss the practical use of Dramatica. Have questions about how throughlines should be used, how to create Complex Characters or even the various combinations of the 12 Essential Questions and how they will affect your story go here.
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Instead of being the inhibitor, I'm starting to suspect what I was noticing were the different threads of the OS. I noticed this since spotting Breathless Mahoney as a clear Contagonist in Dick Tracy. This makes designing the OS even easier. It seems there are threads, the Contagonist, Antagonist, and Protagonist with their OS Type concerns. What I might have been catching were really the impacts of these four OS Driver characters (as opposed to OS Passenger characters of emotion, sidekick, etc.) pushing each other out of the way. That also explains why some time ago, in Troop Beverly Hills, I got the notion of several OS storylines. The kids seem to be conscience characters. Velda's assistant seems a reluctant hinderer. Then we have a clear Protagonist and clear Antagonist. The other characters don't play roles and these ones show growth (sort of mini plot lines).
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I haven't seen that film, but it is possible that there are mini-substories for these OS characters, just to make them a little more interesting. Or, it might just be extraneous storytellling to keep things interesting.
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