It was something that had been nagging at me for a while. Whilst I was working on an idea for TV, an idea that was in ‘And a little more’ (at https://lawlordtobe.com/2022/04/04/and-a-little-more/) and a few articles before then (and one after), the setting was a little too vanilla, too sweet. Yes, it works when you have a pilot and you need to slowly submerge the viewer into this person. But after that you need to have something more and the dark place is at times so much more rewarding. So what happens when loss, loss that would drive any person insane is part of all this? No matter how we slice it, lets say a child is lost to drunk driving, to whatever reason and that person gets off on a technicality, not something that happened now, but something that happened decades ago. So when some events come back, so does the avenging rage. But not like the timeline. But a timeline that is distorted, as memories come back together. So how would that go? That is what I am contemplating. The vengeance is that he takes the life of a family member every decade. A hunt going on for decades and the family is scared beyond believe because this had been going on and they have no idea who to blame. When you know that EVERY decade on the dot a family member dies extremely brutally, how would YOU react? That is the stuff I am trying to add to the idea. You see the dark appeals to all, the need for vengeance appeals to all. In our lives as we add water to the wine, as we add compromise to our values for fairness, the dark gets a free turn on all of us and that side is appealing to all. Yet the power is not to hide it in some lame ‘conspiracy’ setting. We have seen so many of those, but what happens when the deaths also allow for something more? Lets not forget that this is the story of the grandson of Hades. And that is before we get to the part where his father is Ares. Yet that implies that he has another grandfather. All settings that seem to be clear in season one, so what gives?
A stage where decades of corpses set a line in place, a line that I am trying to give volume, but I cannot yet tell in what direction, because I do not know what the direction is yet. That is part of the thrill of creating stories. You need to keep everything in mind, just like an RPG. And this story needs to have angles, sharp sides, soft sides and surprises. It is setting a ying and yang, but shaped like Hesiod and Plato. The dialogue goes better if there is some polarisation, some opposition to either view whilst the bulk of both views are accepted. That is the stage I need to create, and if I succeed the story becomes a lot better and that is what every storyteller tries to do, create the most enticing story. And that setting works when one side is dark, really dark whilst both sides accepts the darkness and shines their own light on that darkness. You see, shadow die in the absence of light or darkness. Both are needed, a shadow cannot exist in absence of either, the first truth all storytellers learn, most often in the midst of their first story and they rewrite it.
I am no different, although I started when I saw the story became too sweet, too vanilla.