I like how Ryan is constantly narrowing his definition of a noodle incident to justify saying he doesn’t like it as Red keeps bringing up good examples
When you take a decision before seeing the information so you have to keep coming up whit increasingly absurd reasons why the information didn't aply to not admit You we're wrong:
I'm gonna say it, I am a big fan of noodle incidents, because I am the type to love speculating about what happened instead of being told what happened, and the latter always ends up a disappointment to me. I think that's the biggest flaw in recent movies and stories, and when Red talked about horror movies and not showing the monster, it made me realize why I don't find recent horror scary, as many horror directors nowadays think that showing a jumpscare of a gross monster is somehow scarier than having it lurk just off screen, in the shadows, following the protagonist. I feel like a lot of people heard "show, don't tell" as an advice for writing and applied it in all levels, and TBH it doesn't help that, like you've said, too many people have terrible story-telling skills, and yet are out there saying what they think writing should be like. "Show, don't tell" is a rule of thumb, not a commandment to be followed at all times, and sometimes it's best to not go too much into depth with something that isn't central to the story, and I wish people would stop echoing that advice to young writers because it perpetuates this anemic storytelling mode. Anyways, going back to the topic, I personally also like Noodle Incidents in my writing as a way to imply a past recurrence of something, and as a way to talk about the characters. In one of my stories, noodle incidents are how I set up all of the characters, so to give it an impression things have been always happening, and it's not like the action or the plot started now, but a while ago, and we're seeing it build up. In my comics I constantly use noodle incidents for the more comedic effect, to mainly imply two main characters of mine are the worst and infamously known troublemakers in their school. The Noodle Incidents are all stuff like "remember when you were screaming on top of a ceiling beam of the school gym?" or "and you ate all of the food in my birthday party and still won't admit it to this day!" It's fun to imagine the 1001 ways my characters have caused chaos and confusion.
Always amusing to see hubris when you say, "Not sure if I will have a lot to say about this one " With the scarred character, do you keep it as mysterious backstory?
Depends on the scope and focus of the story I'm writing. One I detail in the novel I'm querying rn is important for solving a 'problem', and the one I don't detail is there to (hopefully) serve as something for the audience to wonder about, but what is said still serves a purpose to the main character. But to explain that one fully, I don't feel, wouldnt have done anything more for the story
43:30 What about Melisandre's exact origin? We get vague bits and pieces but I think a lot of the creepy fire witch vibe would fall away if we learned too many details, namely precisely how she came to wield her powers, just how much of her magic is actually related to R'hllor, how much is her own doing and how much is sleight of hand.
I like how Ryan is constantly narrowing his definition of a noodle incident to justify saying he doesn’t like it as Red keeps bringing up good examples
listen here
That's a really bad habit XD
It's not even the first trope talk he has done it in
@@RyanPetersonReacts **listens elsewhere**
No *TRUE* Noodle Incident would make me enjoy it!
When you take a decision before seeing the information so you have to keep coming up whit increasingly absurd reasons why the information didn't aply to not admit You we're wrong:
I'm gonna say it, I am a big fan of noodle incidents, because I am the type to love speculating about what happened instead of being told what happened, and the latter always ends up a disappointment to me. I think that's the biggest flaw in recent movies and stories, and when Red talked about horror movies and not showing the monster, it made me realize why I don't find recent horror scary, as many horror directors nowadays think that showing a jumpscare of a gross monster is somehow scarier than having it lurk just off screen, in the shadows, following the protagonist. I feel like a lot of people heard "show, don't tell" as an advice for writing and applied it in all levels, and TBH it doesn't help that, like you've said, too many people have terrible story-telling skills, and yet are out there saying what they think writing should be like. "Show, don't tell" is a rule of thumb, not a commandment to be followed at all times, and sometimes it's best to not go too much into depth with something that isn't central to the story, and I wish people would stop echoing that advice to young writers because it perpetuates this anemic storytelling mode.
Anyways, going back to the topic, I personally also like Noodle Incidents in my writing as a way to imply a past recurrence of something, and as a way to talk about the characters. In one of my stories, noodle incidents are how I set up all of the characters, so to give it an impression things have been always happening, and it's not like the action or the plot started now, but a while ago, and we're seeing it build up. In my comics I constantly use noodle incidents for the more comedic effect, to mainly imply two main characters of mine are the worst and infamously known troublemakers in their school. The Noodle Incidents are all stuff like "remember when you were screaming on top of a ceiling beam of the school gym?" or "and you ate all of the food in my birthday party and still won't admit it to this day!" It's fun to imagine the 1001 ways my characters have caused chaos and confusion.
Always amusing to see hubris when you say, "Not sure if I will have a lot to say about this one "
With the scarred character, do you keep it as mysterious backstory?
Depends on the scope and focus of the story I'm writing. One I detail in the novel I'm querying rn is important for solving a 'problem', and the one I don't detail is there to (hopefully) serve as something for the audience to wonder about, but what is said still serves a purpose to the main character. But to explain that one fully, I don't feel, wouldnt have done anything more for the story
The Jockstrap Incident from TeamFourStar's DBZA (Namek Sava and the HFIL shorts) is basically this
43:30 What about Melisandre's exact origin? We get vague bits and pieces but I think a lot of the creepy fire witch vibe would fall away if we learned too many details, namely precisely how she came to wield her powers, just how much of her magic is actually related to R'hllor, how much is her own doing and how much is sleight of hand.
I don't think people hate Mass Effect Andromeda because they don't know what they want but because it's a gigantic mess
From what I understand, the problem with ME:Andromeda was more in the execution than the premise.
So thats why you dont like Elden Ring. Because the entire story is a noodle incident.