“Stranger Things 3” and Chekhov’s Gun

Television shows have come a long way since the late-1940s. Sitcoms and serials didn’t necessarily have the amount of world-building that we see today. Each week, the audience would get a single story that would resolve itself by the end of the episode. On rare occasions, there would be a two-part episode covering a larger plot, but it would always return to the status quo. In the early-2000s, TV shows started to become more movie-like. Shows like Alias and LOST would use the full run-time of each episode to advance the larger narrative of the story while also exploring smaller arcs to develop the characters. The trick with viewing a show released an episode at a time over a couple of months is that much of the details had to be memorized so the thread connecting them together would be understandable. This is why you’d usually see a “previously on [BLANK]” section at the start of these episodes to remind you...
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What video games can teach us about writing (3/3)

Over the last two months, I've written posts about how Breath of the Wild is an excellent example of how to do settings and how Shovel Knight reveals the depths of its characters through gameplay. While I'm sure the Breath of the Wild sequel will continue to advance its worldbuilding technique, and the final Shovel Knight DLC will give more insight into one of its boss characters, I'd like to spend this month discussing how Hollow Knight can provide writers with some clues on how to write effective foreshadowing, integrate ambiance into their settings, and provide steady and discernible character growth in their protagonists. Before we get into it, though, I feel a short explanation of the "Metroidvania" genre is in order. Hollow Knight is a platformer that abides by some of the basic tenets of games like Super Metroid and Castlevania: Symphony of the Night (hence the genre of "Metroidvania"). There are two main aspects to a good Metroidvania: exploration and upgrades....
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