8 thoughts on “JOURNAL # 3

  1. The story begins with the Trusted One, Latabat’s leader and supreme authority, rushing through his palace in the capital cavern called Labar. He’s frenzied and clearly aggravated, the wind whipping his cloak around and all of the servants hurrying out of his way. He throws the doors to his throne room open and crashes to the ground beside a black crystal ball suspended in mid-air above a silver pedestal. He watches, mortified, as images of the past, present, and future project across the surface of the crystal in blurry flashes. All the while, the stone of the castle around him slowly cracks and flakes, threatening to crash down. The Trusted One then wails before pushing himself to his feet and racing up a flight of stairs out onto a balcony. On the balcony, he calls out a series of earth-shattering clicks and screeches (heavily based on bats’ use of echolocation) to communicate with Regents, the leaders subordinate to the Trusted One who individually rule over the other caverns that make up Latabat. Specifically, he is sending instructions to the leaders of Dafarn, Pernet, Clarn, Rouch, and Tabat to choose one special citizen from each cavern to journey out to save Latabat from ruin. Respectively, each of those leaders instructs Dergek, Plurmef, Flook, Renege, and Clanas to set out immediately for Labar, where they meet one another– as well as the Trusted One– for the first time and receive instructions for their mission (albeit mostly unwillingly).
    The middle of the story begins when the five travelers set off on their journey from outside the gates of Labar, and it follows their progress as they seek to save their home nation from destruction and collapse. Each traveler comes from a unique background and way of life, almost completely separate and unlike one another. However, they all have lived within the borders of Latabat their entire lives, with no access to the outside world. Thus, they have to contend with obstacles completely foreign to them, including natural sunlight, a world that seems to be crumbling and cracking with each step they take, and blatant lies. From the moment they step outside of the gates, they have nothing to help them besides each other and the few things they can carry with them in their packs. Thus, they rely on each other to escape monsters (like ogres with a taste for skilled Latabatians) and the wilderness (which seems to want to keep them confined for all eternity) while trusting that they are on their way to defeat the enemy of Latabat. The middle of the story reaches its climax when they find the “monster”–which resembles a larger-than-life bat with sword-like talons and sharp as steel wings– that the Trusted One sent them to kill under the impression that it was actively trying to destroy Latabat. However, they find out the truth when examining how the “monster-bat” is chained and confined within a crumbling column that extends hundreds of feet deep, desperately trying to get free. It turns out that the “monster” is truly the life force of the nation, and the current “Trusted One” is actually a tyrant who wrongfully overthrew the rightful leaders in a coup several hundred years prior, erased history, and at the same point in time restrained the “monster” to keep it from restoring the kingdom back to how it ought to be.
    The end of this story begins after the five travelers learn the truth and free the “monster-bat”, which is a supernatural deity or figure of sorts that had long been worshiped by Labatians before the Trusted One stole power, from its shackles. They then fly back to Latabat aboard the “monster-bat”, but find when they arrive that a revolution has begun. While they were gone, homes and businesses had physically collapsed, chaos and rivalry had risen, and the Latabatians had lost faith in their Trusted One’s promises that he would soon restore everything back to order. Thus, the nation is divided into two armies: one that remains loyal to the Trusted One (particularly those who had benefited monetarily from his rule, such as the Bailefts, soldiers, and Regents), and one that stands for the people of Latabat who have lost everything (which greatly outnumbers those who are still loyal to the Trusted One). The five travelers and the “monster-bat” arrive in the midst of the war between the two sides, and they join in to fight for the people of Latabat. Everything is in shambles and the few buildings still standing are both cracked and aflame. However, the Latabatians continue to fight for their home and eventually defeat the Trusted One, with him suffering fatal wounds during battle and the people electing a new leader from the original lineage that was overthrown many years ago to help rebuild the nation. The monster-bat then disappears from Latabat on its own terms and the Latabatians get to work taking care of the destruction, but they are relieved to be in this new stage of life.

  2. In a world where a mutation resulted in Homo sapiens having a subspecies of light-manipulating monsters and hunters who can see them, Bostonian treasurer for the New England branch of the Hunters’ Council Dolores Zima recounts how today is the day she’ll lose her position thanks to two things: her own hubris and another Hunter on the Council: Maine geneticist Mariko Sasaki. The story rewinds ten years to January 29th, 2003, where Dolores watches Mariko being sworn in. Dolores instantly latches on to the beauty in the way Mariko carries herself. Deciding to ask her out due to both professional and romantic interest, Dolores goes to invite Mariko to coffee, but is interrupted by Mariko’s boyfriend, a man who comes across as controlling.
    As the year goes on, Mariko and Dolores’ friendship grows beyond being coworkers with similar dreams to change the callous, rigid system of Hunter protocols and preventing potential disasters involving the monstrous Lightstalkers, and it’s evident that the two have feelings for one another, but between still being with her evidently abusive boyfriend and her unwillingness to accept who she is beyond her career, Mariko brushes off her feelings. After things end with her boyfriend in April 2004, Mariko begins a relationship with Dolores, only to suddenly choose to work abroad in Iceland for the remainder of the year, sparking suspicion in Dolores. After returning at the start of the new year, the pair assume their secret love affair, though Mariko is acting strange, and Dolores is suspicious of this. After a new coworker, the young and idealistic Lesley Wynn Kowalski joins, Mariko begins spending more time with them and obsessing over the potential high level Lightstalker threat she suspects is brewing, Dolores snoops through Mariko’s private journal and discovers that she went to Iceland to cover up that she was pregnant, and that she also passed along the burden of protecting the world from this doomsday-esk Lightstalker threat to her daughter, they have a massive falling out, both of them betrayed. Dolores chooses to focus on her career, trying to shut out the anguish of losing Mariko, while Mariko has her ups-and-downs within her stability as Wynn tries to help her. On April 29th, 2006, Mariko calls Dolores during a moment of pure crisis, but when another councilmember overhears their conversation, Mariko’s stability within her position on the Council is called into question. After a follow-up meeting where it’s decided that there will be a vote on whether or not to oust Mariko, Dolores plans to vote for Mariko’s removal, only to change their mind and try to fix things with Mariko following a conversation with the loyal and wise Wynn.
    Dolores discovers that Mariko wasn’t answering because she has passed in a suspicious car accident and that her daughter was put into foster care. She falls into a deep grief and regrets everything, but stays afloat for Wynn, promising to work with them to keep Mariko’s legacy alive. Ten years later, in 2013, Dolores is with her cousin and her cousin’s young son when she and the young boy see one of the Lightstalkers (invisible to normal people due to their ability to manipulate light). She tells him to never say anything to anyone instead of reporting his mutation and plunging him into a life of fighting monsters like she’s mandated to do. Another Councilmember from the area sees this, and she realizes that she’s going to be ousted herself for finally breaking a rule after years of carefully working with loopholes. Two days later, her failure to report her cousin’s son as a Hunter is announced, and Dolores in unanimously ousted save for Wynn. They tells Wynn she hasn’t forgotten her promise, and as she gets onto a train, she sees Mariko for a moment. She decides that her ousting will be for the best, that she’ll find some other way just like Mariko always tried but failed to do.

  3. My story begins with the day-by-day of a family in the early 2000s. Charlie, 10, and Millie, 14, are children to a recently divorced single mother, Jamie. Their father is not very present in their lives. We see each of their social lives, at school, at work, at extracurriculars, on the weekends, and at home. Jamie struggles with finances and emotions, unbeknownst to her children, but keeps on a brave face. She is willing to do anything for her children—including being walked all over by their father, who treats her poorly and blames her for the state of their family. Their family dynamic is healthy, but ignores the elephant in the room, which is the absence of their father.
    One night, as the family sleeps, two armed young men enter their house. Jamie is asleep on the couch with the TV playing reruns and is immediately awoken by the door opening suddenly, but is not quick enough to escape or call the police. The intruders capture her, holding a gun to her, and demand to know who else is in the house and where they sleep. They force her to wake the children, explain to them the situation, and bring them downstairs.The family is tied up in the living room. Jamie pleads with them, and tells them that she will give them whatever they came for if they let the children go. They have no demands—they are doing this for fun. They imply that they intend to kill the family by morning. Charlie is able to free himself, undetected, from the restraints on his wrists, and subtly alerts Millie of this while their mother and the intruders are trying to reason with one another. Charlie gets out of the restraints on his feet as well, and attempts to make an escape. One of the intruders grabs him, and the other fires his gun, missing Charlie but fatally wounding his partner.
    The intruder declines quickly. He panics, pointing the gun at Charlie and insisting he’ll just kill them all now. Jamie talks him out of it, insisting that if he just lets them go, his sentence will be lesser. Charlie allows himself to be restrained again, fearful of what the intruder might do if he doesn’t cooperate. Jamie and the intruder continue to talk. It is revealed that she has quite nearly cut through her own restraints with a charm on her bracelet. Once she is out of them, she waits for her moment. While the intruder is sitting on the couch, muttering to himself, trying to figure out his course of action, he is overpowered by Jamie, who takes his gun as well as the gun of his dead partner, and frees her children, ordering them to go outside and ask the neighbors to call the police. We see on her face that she is struggling internally with the decision she has to make regarding the intruder. In a split second, he shoots up from the couch, and she fires the gun directly into him, dropping it to the floor and joining the children outside to call for help.

  4. The story begins in the nation of Stralavia, where after being elected as Queen of Stralavia, the young Shura Malra holds the massive responsibility of running a nation. Shura had a group of trusted advisors to help her navigate her new role, however one of them would soon betray her trust. General Wilstem. An old instructor of hers, with a sharp mind, but a heartless manner. After Shura was crowned as Queen, General Wilstem developed a plan, one to overthrow Shura, and take her spot, as the new King.
    After being overthrown, and forced into exile, Shura needed to think of a way to return to her nation’s heart, and take Wilstem out of it. However, now King Wilstem had sent a group of notorious bounty hunters to capture all of Shura’s advisors, and herself to be executed. Knowing the dystopia that Stralavia would become if Wilstem continued to stay in power, Shura began her journey back.
    However she had a big problem.. How was she going to get there? Shura was hundreds of miles from the capital city of Stralavia, and she was currently being hunted. But after meeting a like minded, but strange and borderline insane railroad worker named Malco. Shura settles with him as he agrees to help sneak her into the palace by the rails, so with the bounty hunters hot on their trail, they head out into the unknown, and back to the capital, where Wilstem awaits. Unfortunately the bounty hunters catch up with them, and Malco gets the idea to hide Shura in plain sight as another railroad worker, while they construct a backup plan. Shura gains more and more allies on her side as the final plan is completed. Shura, Malco, and all of the other rail workers would take a train to the capital where they would stage a raid, as Shura would sneak inside and try to convince King WIlstem to step down. However, the worst possible thing happens, and Wilstem refuses to step down. In fact, he flies into a rage and engages in a sword duel with Shura. Suddenly, Shura is struck down by Wilstem’s blade, and is sent into black void between life and death. A voice tells her to make a choice. Take down Wilstem alone and perish with him, or perish peacefully, but allow him to continue his tyranny. Shura decides to use the last strength she could posses, and she drives her sword into him, as they both collapse. However as darkness consumes her again.. Shura feels hands lift her, as she fades away. Then, just as she almost disappears, she wakes up in a hospital room, with the familiar face of Malco next to her. He saved her, and she was able to save the nation from tyranny.

  5. Ruderious Jones aka BJ was born and raised on south side of Washington DC. Saturday April 3rd 2004 at 10:59pm Ruderious Jones aka BJ was born on the south side of Washington DC in a section 8 apartment on 37th st SE. From the moment he was born BJ was placed in a category, he was born into poverty to a signle mom of 3 kids and 2 baby fathers. He was born the youngest of 3 and by the time he was old enough to walk he had already seen his first pound of WEED. The odds were stacked against BJ and the cycle of violence, struggle and the battle of attrition was something he’d be pulled into from a very young age. As the youngest BJ has seen every wrong turn those before him have made and because of this BJ’s mom always told him “Be the one who breaks this viscious cycle”

    By the time BJ was 10, he had grown to 5”11 and he weighed in at 160 pounds. BJ was a big boy and from a young age he was viewed as a problem kid. He got into a lotta trouble at school early on and because of this, he had this stigma placed on him.

    Backstory – BJ’s father is the “DON” Dontavious Jones. He was known as the most sinister, violent, and destructive man Southeast DC had ever seen.
    FUCK Southeast the whole EAST COAST.

    There was always a target on his back and the trouble he faced early on in school didn’t help. He got into a fight after fight and one day the violence shook his whole world.

    By the time BJ was 15, he had grown to 6’7 and the kid weighed in around 265 pounds. He was massive. BJ became a top 20 recruit for the class of 2022, and he looked like he’d finally make it out and do what his mother always told him. On the night of his 16th birthday, he was outside on 37th St SE with the whole hood. BJ became a household name and the city that was once against him was on his side. They celebrated and sang and dance for what seemed like hours.
    (Pause)
    A car tire almost screeched, the smell of rubber burning and music bumping almost made BJ’s birthday celebration seem like a little kid’s magic magic-themed birthday party. 4 2024 Black Suburban’s rolled through and lit the place on fire. Everyone ran and screamed and the whole hood took a loss. Amidst the chaos, BJ stood frozen. He looked across the street and his sister had been shot. His big sister Makiya was pronounced dead on the scene. This cycle of violence is never-ending, and BJ looks stuck right smack dab in the middle of it.

  6. A man (Scottson) living out in the woods with his family of 3, his wife and son (Barilla and Scottson Jr.), tending to a small field that shows hard work and years of dedication given to get it to grow. They live a peaceful simple life, with only the hardships of the land to worry about. A group of well-known bandits called “The Red Riders” suddenly ride in one day, ransack Scottson’s home, kidnap Barilla and kill Scottson Jr. As Scottson tries to stop them, one of the bandits pulls out a sword and cuts his arm clean off. Scottson writhes in pain in the dirt as his home is burned to the ground. Before he passes out, Scottson gets a glance of The Red Riders’ (RR for short) posse head, Red Jackson, with a big scar across his face and a red bandana. The RR then rode away, leaving Scottson to bleed out on the ground, pulling Barilla away by the hair, dragging against the ground.

    A few hours later, the home of Scottson has burned down to embers, smoke slowly circling into the sky. Scottson still lays unconscious on the ground, dying, before an old man rides past in a wagon. He quickly scoops up Scottson and brings him to a doctor in a town nearby, “Yellowberry.” A few days pass, Scottson lies in a hospital bed, being worked on by Yellowberry’s only doctor, a strange fellow by the name of Jim. When Scottson wakes up, he realizes his lost arm has now been turned into a mess of machinery. As Jim soon explains, he had to replace Scottson’s arm with a strange new invention called a prosthetic, though Jim made some modifications to it himself. The old man returns as well, introducing himself as Randal. Randal asks Scottson what happened to his home, and as he retells the tale, Randal shares that he too was robbed of a life with his family by the same gang. Randal then promises to Scottson to help him get his revenge for his family and Randal’s own as well. Scottson and Randal then return to Scottson’s home to bury his son and retrieve an old Colt 1860 Army that Scottson’s father had used during the Civil War. Randal turns out to be a retired sheriff, so he teaches Scottson all he knows. Jim also helps by teaching Scottson that he can use his new arm for all sorts of things, such as a hand cannon. A sort of “montage” takes place, as Scottson learns how to use a gun and helps towns around the area with bounties, as Scottson becomes a full fledged bounty hunter. He never loses sight of his true purpose though, and plans constantly to take down The RR. After a big break through in his search for the gang’s location, he heads up north towards unfamiliar territory with Jim, navigating around Native tribes and other groups of desperados before finally reaching The Red Rider’s base.

    Upon arriving at the ranch that the RR have made as a home base, Scottson lays out a plan with Jim to exterminate the whole gang at once. After they discuss, Scottson sneaks inside the ranch while Jim lays low, waiting for his chance. Scottson quietly and quickly makes his way to where his wife is being held only to realize it’s too late. Barilla was killed shortly after the attack and burried here. This sends Scottson into a rage, and a big gunfight ensues. After killing a good dozen of the RR’s and the sacrifice of Jim, Scottson and Red Jackson have a final standoff as the ranch burns down behind them. As they both draw their pistols and fire, they both crumple to the floor. Red Jackson slowly rises, then, after looking around hoplessly, starts limping away. But before he gets far, Scottson sits up and uses his arm cannon to blow Red away, finally ending the battle. As Scottson bleeds out in the dirt, Barilla and Scottson Jr Appear in ghostly form and take Scottson away. The scene ends with the ranch burning and the arrival of several sherrifs and deputies as the credits roll.

  7. Keep in mind this is an idea I’ve had for a TV show for a couple years. I might swap it out for a fresh idea that is made for movies in mind.

    Have you ever heard of an anthology series? For those that do not know, an anthology series is a series that stars a different protagonist and/or cast of characters with every season. While there is sometimes a reoccurring or multiple reoccurring characters throughout depending on the show or book, that is generally how it goes. This pitch is one of those.

    The idea is that the story follows a rock through the passage of time. A rock? Yes, a rock. It’s not magic, but it is sentient. It can think. While it doesn’t have eyes (though if this was animated it would for stylistic purposes though not in story) it can only watch as time progresses. To put it simply, the idea is viewing the perspective of a static, unmoving object perceive an ever-changing world. The only supernatural thing about this rock besides its sentience is that it can communicate with one in a million people. If it was truly silent, the story would be boring, no? The gimmick would get old fast. I’ve added this part in so that there can be actual character dynamics, you know?

    I have some ideas for potential seasons though I haven’t fleshed much out since I haven’t had a reason to prior to this. It’s been more of a “back of the mind” thing, you know? Now I know I said it is following this rock through the passage of time, but that doesn’t mean the seasons or in this case acts of the film would follow a set path. For example again if this was a tv series, I imagine the first two seasons happen relatively close together but then maybe the third is set way in the past while the fourth a decent way into the future. The only set one is the final which I will get into later.

    I’ve had ideas for little plot points and characters for this rock to run into. I had an idea for a season set maybe around the dark ages. I don’t think the dark ages need an explanation. It was shit, end of story. But it is also when religion was on a rapid rise in Europe both in terms of a number of believers and influence. My idea is that a peasant woman, perhaps she is a serf, who encounters this rock and begins to commune with it. A talking rock isn’t something you see every day and thus, this deeply religious (as is so common during this time period) character would consider this rock to be a messenger of God. Perhaps it could revolve around her trying to start up a cult. Though since the rock can only commune with her (one in a million, remember), that might prove difficult if not outright heretical.

    Another idea is similar where it becomes a family heirloom though I haven’t settled on a time period for this one. This one was an idea I had three years ago which I am only remembering now that I am typing this out.

    Yet another idea I have had is for it to become part of a road or building or something in the modern day. Could follow its perspective witnessing the everyday lives of those who pass by.

    I called my mother the other day and when I brought up this assignment she specifically gave the idea of this rock being the rock used to first invent fire. I like that idea so I think I’ll keep it along with that initial tangent because I want her to get credit for it.

    One of my more recent ideas would take place specifically in modern day. A down on his luck college dropout stumbles into the rock and takes it home with him. I don’t know how but the two find out that auditory equipment can actually pick up what the rock is saying. There is only one reasonable conclusion to this revelation. The two start a podcast! Yup. That’s it. Frankly, I just think it’d be funny. Of course no one would believe the second voice on the podcast is a literal rock so that could cause some fun shenanigans.

    The final season. Or rather, the final episode. The End. This is the only one that has a specific time I’d want it to show up, which, of course, is at the end. There is something I have failed to mention this whole time. The rock is not the only reoccurring character throughout this story. There is one other, though unlike the rock their form/design is not constant. In every season, it would look almost completely different, the only constants being the color palette and the eyes. This character has a name but for now, let’s refer to it as “That Thing”. I would say The Thing but that is already taken so That Thing it is until I can think of a better alias. This… thing (pun not intended) both looks and behaves differently depending on what point of the rock’s story this is in. I plan to make concept art for it but I haven’t had the time or motivation yet. Really depends on if I stick with this story for the class or not. Anyway, it is elusive and never directly speaks to the rock the entire time. That is, until the end. When the Earth has exploded and this rock, still sentient, find itself hurtling into unknown space. That Thing communes with the rock, going over the rock’s long, long life with it recapping its experiences in a way. All while constantly shapeshifting into more ethereal versions of the human characters while keeping That Thing’s eyes and general color palette. The rock had no idea what this thing was this whole time, but now, at the end as the sun draws near, it is abundantly clear. That Thing (who’s real identity I will keep secret though know it is metaphorical) asks the rock if all of this was worth it. The good and the bad. The joy and the heartbreak. Once they finish their conversation, That Thing disappears into the void of space, leaving the rock to hurdle into the sun, finally its long life coming to an end.

    The tone of the series I think will vary depending on the season. Some might be more action packed while others might be more mellow and slice-of-lifey. But through it all I want it to have a more philosophical undertone. Especially at The End. The best comparison I can make in terms of what I mean by a “philosophical undertone” I suppose would be Adventure Time. That show was episodic and childlike at the start which reflected Finn’s worldview at the time. But as Finn grew and matured, so did the show and especially the writing. They ask some big questions in that show and you never see it coming because it’s an animated series on Cartoon Network. If I could post clips on this site I would.

    What do you guys think? I know it’s a rough concept (and a little late, I’m sorry) but I think it might have potential, albeit as a television series as opposed to a movie.

  8. Keep in mind this is an idea I’ve had for a TV show for a couple years. I might swap it out for a fresh idea that is made for movies in mind.

    Have you ever heard of an anthology series? For those that do not know, an anthology series is a series that stars a different protagonist and/or cast of characters with every season. While there is sometimes a reoccurring or multiple reoccurring characters throughout depending on the show or book, that is generally how it goes. This pitch is one of those.

    The idea is that the story follows a rock through the passage of time. A rock? Yes, a rock. It’s not magic, but it is sentient. It can think. While it doesn’t have eyes (though if this was animated it would for stylistic purposes though not in story) it can only watch as time progresses. To put it simply, the idea is viewing the perspective of a static, unmoving object perceive an ever-changing world. The only supernatural thing about this rock besides its sentience is that it can communicate with one in a million people. If it was truly silent, the story would be boring, no? The gimmick would get old fast. I’ve added this part in so that there can be actual character dynamics, you know?

    I have some ideas for potential seasons though I haven’t fleshed much out since I haven’t had a reason to prior to this. It’s been more of a “back of the mind” thing, you know? Now I know I said it is following this rock through the passage of time, but that doesn’t mean the seasons or in this case acts of the film would follow a set path. For example again if this was a tv series, I imagine the first two seasons happen relatively close together but then maybe the third is set way in the past while the fourth a decent way into the future. The only set one is the final which I will get into later.

    I’ve had ideas for little plot points and characters for this rock to run into. I had an idea for a season set maybe around the dark ages. I don’t think the dark ages need an explanation. It was shit, end of story. But it is also when religion was on a rapid rise in Europe both in terms of a number of believers and influence. My idea is that a peasant woman, perhaps she is a serf, who encounters this rock and begins to commune with it. A talking rock isn’t something you see every day and thus, this deeply religious (as is so common during this time period) character would consider this rock to be a messenger of God. Perhaps it could revolve around her trying to start up a cult. Though since the rock can only commune with her (one in a million, remember), that might prove difficult if not outright heretical.

    Another idea is similar where it becomes a family heirloom though I haven’t settled on a time period for this one. This one was an idea I had three years ago which I am only remembering now that I am typing this out.

    Yet another idea I have had is for it to become part of a road or building or something in the modern day. Could follow its perspective witnessing the everyday lives of those who pass by.

    Yet another idea would be set in old old Japan. Like around when the first few zen gardens were being made. This season would revolve around the rock talking to an older gentleman, probably the oldest human protagonist this series would have. Outside of that, I do not have much in regards to this idea. It’s more of a fun add-on idea I had while typing this all out.

    I called my mother the other day and when I brought up this assignment she specifically gave the idea of this rock being the rock used to first invent fire. I like that idea so I think I’ll keep it along with that initial tangent because I want her to get credit for it.

    One of my more recent ideas would take place specifically in modern day. A down on his luck college dropout stumbles into the rock and takes it home with him. I don’t know how but the two find out that auditory equipment can actually pick up what the rock is saying. There is only one reasonable conclusion to this revelation. The two start a podcast! Yup. That’s it. Frankly, I just think it’d be funny. Of course no one would believe the second voice on the podcast is a literal rock so that could cause some fun shenanigans.

    The final season. Or rather, the final episode. The End. This is the only one that has a specific time I’d want it to show up, which, of course, is at the end. There is something I have failed to mention this whole time. The rock is not the only reoccurring character throughout this story. There is one other, though unlike the rock their form/design is not constant. In every season, it would look almost completely different, the only constants being the color palette and the eyes. This character has a name but for now, let’s refer to it as “That Thing”. I would say The Thing but that is already taken so That Thing it is until I can think of a better alias. This… thing (pun not intended) both looks and behaves differently depending on what point of the rock’s story this is in. I plan to make concept art for it but I haven’t had the time or motivation yet. Really depends on if I stick with this story for the class or not. Anyway, it is elusive and never directly speaks to the rock the entire time. That is, until the end. When the Earth has exploded and this rock, still sentient, find itself hurtling into unknown space. That Thing communes with the rock, going over the rock’s long, long life with it recapping its experiences in a way. All while constantly shapeshifting into more ethereal versions of the human characters while keeping That Thing’s eyes and general color palette. The rock had no idea what this thing was this whole time, but now, at the end as the sun draws near, it is abundantly clear. That Thing (who’s real identity I will keep secret though know it is metaphorical) asks the rock if all of this was worth it. The good and the bad. The joy and the heartbreak. Once they finish their conversation, That Thing disappears into the void of space, leaving the rock to hurdle into the sun, finally its long life coming to an end.

    The tone of the series I think will vary depending on the season. Some might be more action packed while others might be more mellow and slice-of-lifey. But through it all I want it to have a more philosophical undertone. Especially at The End. The best comparison I can make in terms of what I mean by a “philosophical undertone” I suppose would be Adventure Time. That show was episodic and childlike at the start which reflected Finn’s worldview at the time. But as Finn grew and matured, so did the show and especially the writing. They ask some big questions in that show and you never see it coming because it’s an animated series on Cartoon Network. If I could post clips on this site I would.

    What do you guys think? I know it’s a rough concept (and a little late, I’m sorry) but I think it might have potential, albeit as a television series as opposed to a movie.

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