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One of these staunch detractors is Ariki (Wayne Hapi), brother to Genesis and father to Mana. Father and son both hand off the Obstacle Character Throughline as they challenge Gen's positive mental attitude. Ariki and Mana feel themselves stuck in gang culture without a future to look forward to.
Both Ariki (Wayne Hapi) and Mana (James Rolleston)--brother and nephew to Genesis respectively-- provide the Obstacle Character Throughline perspective needed to challenge Genesis.
- Identifying The Four Throughlines
- Locating The Domain of Conflict For Each Throughline
- Determining Character and Plot Dynamics
- The Concerns of Each Throughline
- From Issues to Concrete Problems
- Double-Checking Your Work
- The Analyst and The Writer
Before diving in to the deep thematics present within each and every scene, the analyst must first identify the Four Throughlinesof the story. Narrative drive exists wherever there is an inequity. No imbalance, no story. Yet, one cannot focus in on the inequity and simply describe it—the Tao that can be spoken is not the eternal Tao. Instead Author...
The next step requires the analyst to assign each of these Four Throughlines to a particular Domain, or area, of conflict. In our Universe, conflict can be found in four different arenas: 1. a Universe (fixed external conflict) 2. an Activity (a process of external conflict) 3. a Mind (fixed internal conflict) 4. a Manner of thinking (a process of ...
From there, the analyst begins identifying the answers to dynamic questions that pinpoint the forces that twist and turn the narrative. Dramatica begins with 32,768 possible storyforms. Answering these questions helps narrow down the possibilities and focuses the story engine in on the Author's original intent. The four Character Dynamicslook to Ge...
After identifying the forces behind the narrative, the analyst now turns their attention towards the Static Plot Points of the story. The first and perhaps most important of these rests at the Plot level of the model and determines the focus of Concern for each Throughline. When choosing a Concern for one Throughline, the analyst automatically choo...
Lastly, the analyst looks to the Issues within each Concern and approximates which pair sounds more like the source of conflict within each Throughline. In The Dark Horse, the personal Issues of Genesis belong to either Value & Worth or Worry & Confidence. He seems less troubled by the relative value and worth of things than he does his own anxiety...
If a concrete choice still eludes the analyst, they must turn to other areas to help answer this final question. Turning towards the Transits of each Throughline, one finds that Dramatica narrowed down the 3rd Transit for Genesis (what most people consider Act 2b) to either Subconscious or Contemplation. Transit 3 finds Genesis alone in his van, sm...
Many think Dramatica a tool for analysis; something that can and should only be done after the Author's initial draft. By understanding how to accurately analyze a work as amazing as The Dark Horse, the analyst develops their own perception and comprehension of the structure of a functioning narrative. As knowledge grows, so too does intuition. A c...
May 4, 2016 · When Gen’s nephew, Mana (James Rolleston) becomes interested in his work with the Eastern Knights, Mana wants to join them. He sees how devoted his uncle is to the kids but Ariki already has plans for his son, wanting him to be inducted into the gang. The induction is violent and criminal.
Ariki arrives shortly after, and punches Genesis before he yells at Mana to get in the car. The Eastern Knights travel back to Gisborne, and Genesis is visibly upset. He goes over to his brother's to find his nephew, who is unconscious with a black eye.
If the Plot & Players stage focuses on the more logical plot-oriented aspects of a narrative, Character Arcs focuses attention on the emotional considerations of growth within both the Main Character and Obstacle Character Throughlines.
People also ask
Who is Ariki & Mana in obstacle character throughline?
Who is Ariki in objective story throughline?
How do Ariki and Mana feel about gang culture?
Are two throughlines enough to create a main story?
Does Ariki play Genesis in the Dark Horse?
Why does Genesis abscond with Mana?
There are four different Domains in the structure of any story, represented by the combination of each of the four Classes with each of the four throughlines the Objective Story Throughline, the Subjective Story Throughline, the Main Character Throughline, and the Obstacle Character Throughline.
