Instant Dramatica
Musings from Armando Saldaña Mora

Dramatica Visits 
South Park

Going to South Park (a shortcut through 1920s Germany) Do you like 20th century theater? have you seen or read any of the Bertold Brecht plays ("The three penny opera", "The resistible rise of Arturo Ui")? Have you read any of his theory books?

Bretold Brecht has this very dense theory about what he called a "detachment from the play in order to create a critic conscience in the viewer." In short and in Dramatica terms in reads like this: "When the viewer gets emotionally involved in the play, she looses perspective and is target of manipulations by the author. The only way to release the viewer from this manipulations and allow her a conscience of her own is to only present her the Objective Story of the play; and then the viewer can judge by herself what she really feels about it."

Pretty dense, huh? and opposed to every Dramatica concept too.

Now, at first that could seem like a Propaganda Technique to mess with the viewers' heads, but if you read one of his plays you'll find the following:

In every one of his plays he has a character that acts as a Master of Ceremonies (The Presenter he calls it). He doesn't interact in the play, but merely presents it to the public like a circus ring master (Brecht used to work for cabarets in 1920s Germany and all of them had a master of ceremonies. Remember Joel Gray's character in the movie "Cabaret"?), and then, the whole play develops.

Now, what Brecht is really doing is: he's making the Presenter his Main Character: before the play, he tells us what he thinks of all the objective characters and how will the plot develop. He seems to be smarter and in a higher position that the other characters, so we tend to identify with him. And the obstacle character would be the Whole Play!

That's right, the Presenter gives us a perspective, a way of thinking, and the play presents us with another perspective altogether, but in the end we can tell if the Presenter was right (steadfast) or if he was wrong (change).

When I see South Park I think of a Brecht play. My vision on it is not the last word, but this is how I see it:

It was a genial idea to put a famous and recognizable figure such as Les Claypool (at least recognizable for Generation-X-South-Park-viewers) singing the opening tune. He acts like a complete Presenter, we identify with him and he has a genuinely sarcastic but sympathetic view of the South Park town. He gives us an emotional perspective on the series and then the episode starts and gives us another; but we're still on the Detached Main Character emotional view, so we could laugh our head off every single time they kill Kenny. At the end of the show, the closing titles music reminds us of the Les Claypool perspective and the subjective view of the show comes to a complete circle.

The problem with this approach is that is a dangerous one. Is closed to people who can identify with a figure such as Les Claypool and his sarcastic perspective. Any other could (and will) find the show a horrible monstrosity where they kill an eight year boy every single chapter... the same eight year boy every time! But I guess South Park producers are deep into danger.

So, as I said, my view on the show isn't the only one. I'd love to hear another one.

By the way, real Generation X-ers (like those on the famous Douglas Coupland novel) are now in our mid 30s, not that teenagers the Pepsi ads wants us to think.

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About Dramatica and StoryWeaver

Hi, I'm Melanie Anne Phillips, creator of StoryWeaver, co-creator of Dramatica and owner of Storymind.com.  If you have a moment, I'd like to tell you about  these two story development tools - what each is designed to do, how each works alone on a different part of story development and how they can be used together to cover the entire process from concept to completion of your novel or screenplay.

What They Do

Dramatica is a tool to help you build a perfect story structure.  StoryWeaver is a tool to help you build your story's world.  Dramatica focuses on the underlying logic of your story, making sure there are no holes or inconsistencies.  StoryWeaver focuses on the creative process, boosting your inspiration and guiding it to add depth, detail and passion  to your story.

How They Do It

Dramatica has the world's only patented interactive Story Engine™ which cross-references your answers to questions about your dramatic intent, then finds any weaknesses in your structure and even suggests the best ways to strengthen them.

StoryWeaver uses a revolutionary new creative format as you follow more than 200 Story Cards™ step by step through the story development process.  You'll design the people who'll inhabit your story's world, what happens to them, and what it all means.

How They Work Together

By itself Dramatic appeals to structural writers who like to work out all the details of their stories logically before they write a word.  By itself, StoryWeaver appeals to intuitive writers who like to follow their Muse and develop their stories as they go.

But, the finished work of a structural writer can often lack passion, which is where StoryWeaver can help.  And the finished work of an intuitive writer can often lack direction, which is where Dramatica can help.

So, while each kind of writer will find one program or the other the most initially appealing, both kinds of writers can benefit from both programs.

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