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[–] bobroland 1 points -1 points (+0|-1) ago 

Well, I do have one antagonist who, in my mind, is gay. He's also a minor antagonist, and a nasty piece of work. Part of his character was shaped by feeling isolated growing up. Since it's not important to the story, it was never written down. That sort of thing happens when writing. You often have more backstory than ever hits the page. Sexuality comes up only when important to the story. Lead character was straight because there was a romance through story.


See, Peter isn't unlucky. Luck is that point on the Venn diagram where bad actions overlap accidents. Any other person, including the reader, would do a better job at being Spider-Man than Peter Parker does. We roll our eyes slightly. We identify. We've all been screw ups. It's not luck.

As for Flash....well, in a well written story, every character has an arc, but it's usually unseen. Flash works best as a force of nature. He's an obstacle. You don't care about where he's going, any more than you care about where a tornado goes. You don't need o redeem every character...and in fact you should avoid it as often as possible in a drama.

Look, I'm not saying you shouldn't approach minority character as real's just that 99% of the time it's done badly. David Simon is a great writer for television because he does show deeply flawed minority characters. It's great. Problem is, the vast majority of people can't...and even if they could, there's going to be some hollywood knucklehead who is going to edit the flaws out of a minority character. Nature of the beast. We have the world as it is, not as we wish it.


[–] thoughts-from-alex [S] 0 points 1 points (+1|-0) ago  (edited ago)

in fact you should avoid [redeeming characters] as often as possible in a drama.

Why's that, out of interest? In my head, it's less redemption, and more building on the idea that, even though Flash is a jerk to Peter, he's a big fan of Spider-Man. The idea posited online (I didn't come up with it myself, but I don't actually recall who did) was that Flash was a closeted bully, and then Spider-Man inspires him to come out. It's less redemption, because he was still a jerk, but more... understanding? But I suppose those two things can function in the same way at times.

I've never heard of David Simon - any recommendations of his work I should check out?


[–] bobroland 0 points 0 points (+0|-0) ago 

The "redemptive ending for everyone" ending dates back to Shakespeare's comedies...and in a comedy it works. The end of the work is like an episode of Oprah where everyone finds something under their seat. Everyone gets a car, cue credits. Drama is different. In a drama you need to narrow the focus to the main characters so that the resolution and the journey becomes more important, more poignant. In the example of Spider-Man, the focus has to be Peter's journey, not that of other characters. In a drama the comedic characters can have their own resolution, but the serious characters should have their redemption tied directly to the actions, or inactions of the protagonist.

Is it a hard and fast rule? Nope. No such thing. Art sometimes has to break the rules, but most of the time when it happens it's to the detriment of the art.

David Simon was a beat reporter for the Baltimore Sun before he published "Homicide: A Life on the Killing Streets". That would be turned into a TV show (highly under-rated) which would lead to some incredible HBO shows. The Corner, following the lives of drug addicts in Baltimore, The Wire, following police in criminals in Baltimore and Treme which took place in post Katrina New Orleans. Great stuff because he manages to capture the reality of all the characters. He tackles race head on, and doesn't flinch. He shows people both good and bad.

I'm insanely jealous of his skills.