Muphrid
Star of the Lancer
Reading your chapter two now.
You take a little bit of time to recap Shinji's choices in EoE. Do you think this is necessary? Do you think the audience might not have understood what he did the way you do? Or that it's a necessary tool to help orient us in time and place? To me, there is some risk that folks already know all that and will not be as engaged, but I do think that if it should be here, it should be set off in its own section, as you have done, so that seems fine.
I think you lost a word?
Hm, you spend a little more time rehashing and orienting Shinji on the beach. I think you could get away with a lot less, really. Getting to Shinji hanging the pendant around his neck is where the real "story" here begins.
Now, I understand the need to set the time and place. I think an alternative would be to merely describe what's around Shinji without going back quite as much, without saying why things are the way they are. Were I writing this segment, for instance, I would try to set the stage only and let the reader figure out the significance of it: talk about a severed petrified giant head, talk about a desolate beach and a sea of orange-red. Talk about the pendant and all its features, evoking Shinji's emotions toward it in the description--it's smooth and white and seems warm in his hand, perhaps.
In other words, these are approaches I recommend to try to evoke emotions rather than stating them. If recapping the events of EoE in so many words is important to you, then you should still do that. And believe me, even my approaches to a scene like this have evolved over time, so if you feel like they don't quite capture what you want to get across, do what you like.
Anyway, moving on. All this stuff about Shinji wandering the streets--again, it seems to run afoul of the Black Moon rising out of the ground, etc. But I know you're aware of that, so I won't speak on it further.
You do a thing I used to do--Shinji seems to be talking to the narrator. I liked it when I did it, but I wouldn't be surprised if someone thought, "Who is he talking to? Does it make sense for him to speak this way in response to nothing?"
Just an example, of overexplaining the significance of things:
You might say that this sentence is redundant, and the significance of the smell is clear from context.
You know, this is a very challenging chapter, as you've got Shinji all alone, trying to react to things, trying to digest what's happened to him and the significance of it all. Your approach is rather direct, as we have direct insight into Shinji's thoughts. One thing I will say is that, having such a direct line into his head leaves little room for ambiguity or interpretation. Shinji's little moment of leaving the chocolate bar on Asuka's bed is a good example: by stating his intentions outright, we know exactly what it means to Shinji. There's no reason for the audience to think about what it means, only whether Shinji will uphold that promise or not.
I feel like this chapter is written similarly to the battle scenes last chapter. That style seems to work better here than it did there, as there's less focus on any individual action and more on the collective whole.
The scenes with Shinji waking up and puking into the toilet--they're subtly out of sequence. You show us Shinji hurling before we even know what's upset him. Going out of sequence like this can deprive the scene of punch, as you're forced to go back and explain rather than keeping continuity with the subject's emotions.
You make a lot of keen observations about what life would be like in this time--with lots of stuff not working, etc.
Is it realistic for Shinji to call it "the sea of LCL"?
And then we get to the end, in which you put forth a theory on why Shinji chokes Asuka. It's not a bad theory, but hmm, is this what you want to do with storytelling--put forth a fan theory on a canon event?
Some of this comes down to personal style, but by spelling out exactly what's going on in Shinji's mind here, you're doing things in a way that's, well, the exact opposite of how Anno told his story, you know? And if you want to do that, fine, but I do think there's a little more power in leaving things ambiguous--not for ambiguity's sake, but because it makes people engage the story and think about what's happening, rather than sit back and let the story be imparted upon them in certain detail.
This chapter is all about Shinji trying to cope with his situation and get over his nightmares. What happened to Asuka--that's largely not his fault, so the torment he feels over it doesn't really probe at his character. The trails he faces in surviving this world--they're a backdrop for his angst, really. I'm not sure how well Shinji's conflict with this abandoned world really helps probe at his angst and trauma, either, except that being alone forces him to confront it rather than rely on others.
Anyway, don't think too much about anything I've said (except maybe that one clear missing word). No one can reinvent their writing style overnight, and I've made a lot of observations, not all of which may fit the way you want to tell a story, or the story you want to tell. Just let me know what, if anything, you might want to know more about. For my part, I'll continue to read and offer opinions. Cheers.
You take a little bit of time to recap Shinji's choices in EoE. Do you think this is necessary? Do you think the audience might not have understood what he did the way you do? Or that it's a necessary tool to help orient us in time and place? To me, there is some risk that folks already know all that and will not be as engaged, but I do think that if it should be here, it should be set off in its own section, as you have done, so that seems fine.
Time passed. Shinji's throat was still raw as he awoke. It was now night time and the chill breeze cut through his thin clothing. Hugging himself to try and stay, he sat up and look around. [...]
I think you lost a word?
Hm, you spend a little more time rehashing and orienting Shinji on the beach. I think you could get away with a lot less, really. Getting to Shinji hanging the pendant around his neck is where the real "story" here begins.
Now, I understand the need to set the time and place. I think an alternative would be to merely describe what's around Shinji without going back quite as much, without saying why things are the way they are. Were I writing this segment, for instance, I would try to set the stage only and let the reader figure out the significance of it: talk about a severed petrified giant head, talk about a desolate beach and a sea of orange-red. Talk about the pendant and all its features, evoking Shinji's emotions toward it in the description--it's smooth and white and seems warm in his hand, perhaps.
In other words, these are approaches I recommend to try to evoke emotions rather than stating them. If recapping the events of EoE in so many words is important to you, then you should still do that. And believe me, even my approaches to a scene like this have evolved over time, so if you feel like they don't quite capture what you want to get across, do what you like.
Anyway, moving on. All this stuff about Shinji wandering the streets--again, it seems to run afoul of the Black Moon rising out of the ground, etc. But I know you're aware of that, so I won't speak on it further.
Cobalt eyes shot open and he grabbed his head in pain as the memory of what happened next attempted to make itself known. Shaking his head and banishing those thoughts, Shinji continued unsteadily through the city, searching for...what? Food? Water? A place to rest?
"No, I don't deserve those things," Shinji sighed dejectedly. "I killed everyone on Earth. What right do I have to live?" His stomach, disgruntled at the idea that it would not be filled, rumbled loudly. Shinji tried to ignore it, but eventually he clutched his stomach and fell to his knees as the pangs of starvation started to hit him. The thought of the destroyer of humanity, brought to heel by their own stomach, would have brought a chuckle to his lips, if it hadn't been so damn morbid. "Fine, I'll search for some food. Happy?"
You do a thing I used to do--Shinji seems to be talking to the narrator. I liked it when I did it, but I wouldn't be surprised if someone thought, "Who is he talking to? Does it make sense for him to speak this way in response to nothing?"
Just an example, of overexplaining the significance of things:
Five minutes later, the sound of tinkling echoed down the street as Shinji dragged a piece of concrete debris around the edges of a window, removing the jagged fragments so he could safely enter the store. Stepping gingerly through, a pungent odour wafted into his nostrils, and he almost gagged at the stench. There was food in here, but some of it was obviously starting to rot now that the power was out. Pulling his shirt over his nose to try and block out the smell, Shinji carefully walked towards the back of the dimly lit convenience store to where the fridges for cold snacks and drinks sat. He opened the door and felt a faint cool breeze.
You might say that this sentence is redundant, and the significance of the smell is clear from context.
You know, this is a very challenging chapter, as you've got Shinji all alone, trying to react to things, trying to digest what's happened to him and the significance of it all. Your approach is rather direct, as we have direct insight into Shinji's thoughts. One thing I will say is that, having such a direct line into his head leaves little room for ambiguity or interpretation. Shinji's little moment of leaving the chocolate bar on Asuka's bed is a good example: by stating his intentions outright, we know exactly what it means to Shinji. There's no reason for the audience to think about what it means, only whether Shinji will uphold that promise or not.
I feel like this chapter is written similarly to the battle scenes last chapter. That style seems to work better here than it did there, as there's less focus on any individual action and more on the collective whole.
The scenes with Shinji waking up and puking into the toilet--they're subtly out of sequence. You show us Shinji hurling before we even know what's upset him. Going out of sequence like this can deprive the scene of punch, as you're forced to go back and explain rather than keeping continuity with the subject's emotions.
You make a lot of keen observations about what life would be like in this time--with lots of stuff not working, etc.
Is it realistic for Shinji to call it "the sea of LCL"?
And then we get to the end, in which you put forth a theory on why Shinji chokes Asuka. It's not a bad theory, but hmm, is this what you want to do with storytelling--put forth a fan theory on a canon event?
Some of this comes down to personal style, but by spelling out exactly what's going on in Shinji's mind here, you're doing things in a way that's, well, the exact opposite of how Anno told his story, you know? And if you want to do that, fine, but I do think there's a little more power in leaving things ambiguous--not for ambiguity's sake, but because it makes people engage the story and think about what's happening, rather than sit back and let the story be imparted upon them in certain detail.
This chapter is all about Shinji trying to cope with his situation and get over his nightmares. What happened to Asuka--that's largely not his fault, so the torment he feels over it doesn't really probe at his character. The trails he faces in surviving this world--they're a backdrop for his angst, really. I'm not sure how well Shinji's conflict with this abandoned world really helps probe at his angst and trauma, either, except that being alone forces him to confront it rather than rely on others.
Anyway, don't think too much about anything I've said (except maybe that one clear missing word). No one can reinvent their writing style overnight, and I've made a lot of observations, not all of which may fit the way you want to tell a story, or the story you want to tell. Just let me know what, if anything, you might want to know more about. For my part, I'll continue to read and offer opinions. Cheers.