Making Your Macguffin Matter Make It Personal Make It Metaphorical

Total Page:16

File Type:pdf, Size:1020Kb

Making Your Macguffin Matter Make It Personal Make It Metaphorical Making Your Macguffin Matter Revenge is a great way to make your macguffin meaningful. In the Sting, the whole point of the Heist is to get revenge on both a corrupt policeman and crime boss who murdered When you plan a heist, as a player or a GM, there are a lot of things to consider: the move- Robert Redford’s friend, ex-partner. The same goes for needing it to prove your innocence ment of guards, the actions of the Crew, what could possibly go wrong, and most impor- of a crime you didn’t do--the only way you can prove you didn’t steal Lady Holliday’s tant of all, what you’re stealing. Because what’s the point of pulling a heist if you don’t have Necklace is to stop the Baseball Diamond from being stolen, and the only way you can do something cool to steal? that is by stealing it first. So let’s talk about how to make your macguffin matter. In storytelling a macguffin is just Or you need it to help someone you care about. In Supercrooks, the Loot matters because the thing that drives the story. It’s the Loot you’re there to steal. It doesn’t matter if it’s it is needed to pay off the debt of their mentor. Maybe your character needs the diamond a rare necklace, a stockpile of gold, plans on microfilm--it’s there so that other things to bail out a friend. (guards, security systems) can try to keep you from getting it. Finally, you can make it something personal but incredibly petty. This works best when You can find some amazing roleplaying opportunities if you take some time to make your there are a few other characters who have already established grandiose meanings, but if macguffin matter. It’s not just that you’re stealing the necklace, it’s that the necklace is the you’re the thief who just wants to make enough money to open a donut shop on the coast only thing you had left of your inheritance before your family was disgraced. Or the big di- of Miami and watch the sunrise while handing out delicious donuts--then it’s going to feel amond is your last chance to prove that you can still do the job. Or it’ll be enough to open so satisfying to get that. Again, the key is specificity. It’s not just that you want to open a up that quirky donut stand you always dreamed of. donut shop--you want to open the seaside donut shop and get away from the hustle and bustle. But now we’re drifting into metaphor territory, so let’s talk about that. When we know what the Loot means to our characters, suddenly the stakes are that much more personal. That’s where we want to be--because the heist itself? That’s just plot. That’ll Make it Metaphorical take care of itself, but what will make it stand out is when you can hang a good story on the frameworks we’re presenting here in the book. And the way you do that is by making it Another great technique is to think about what the macguffin represents. This kinda takes about characters, not the plot. away from the specificity of the Loot, but it still gives it a lot of meaning. Because it’s not just a ship you’re stealing--it’s freedom. It’s not just a diamond you’re stealing, it’s redemp- There are a few ways you can make your Loot all about your characters--you can make tion in the eyes of your mentor. It’s not just a pile of gold, it’s a slap in the face to every rich it personal, make it metaphorical, make it spectacular, make it dangerous--whatever you bastard putting his heel on the neck of hard-working crooks like you. domake it about your characters. You’ve probably seen this a million times in movies. The Loot matters to the character, but Make it Personal it’s all about what it symbolizes in their life. This can be something a character gains by stealing it: freedom, respect, redemption, mercy. Or it can be something a character loses This is one of the easiest things you can do as a GM or a Player. Make the Loot something or breaks through because of it: you finally have what you need to leave the criminal life personal to your characters. Think of the Heart of the Ocean in Titanic. The necklace is behind. Until the next “one last job” comes around. valuable, but its real value is to Rose. It’s emotionally priceless. This has the advantage of giving your character a unique point of view in the heist. Once There’s nothing stopping you from making the macguffin emotionally priceless in your you know that what you really want is to prove you’re the best--your goal in the heist own heist. The key is specificity and history. In Pulp Fiction, Bruce Willis’ gold watch is changes. Now you don’t just have a reason to be in on the heist, but you have a way to just a watch, but it’s emotionally priceless because of its history and connection. Because of inform your character’s actions. A character looking for respect might act differently than it, you understand both why he can’t leave it behind, and what it means to get it back. a character looking for freedom. Even if the object isn’t something you have a personal history with, you can still make Finding the metaphor in what you want is a great way to still feel like you win even if you something emotionally priceless by having a connection to the Loot. Or the people hold- don’t get the Loot itself. If you’re looking to play games where you’re the plucky crew who ing the loot. Instead of the necklace being the only thing you have left of your mother, it’s never actually walks away getting that payday, or who are kind of Happy-Go-Lucky thieves the most prized possession in the hands of your enemy. Sure, it’s worth a lot of money, like Lupin III in Castle of Caligiostro, then finding what you get out of every heist is im- but it’s also one of the few ways you can get to them. portant. It keeps you coming back because Heists aren’t about the money--they’re about Samplehappiness. Or the thrillfile of it. Again, this is less a loot specific thing, but once you have this, you can tie that metaphor to Stories work best when they’re driven by the characters in them. Making something Dan- the Loot and have a lot more fun trying to grab it. gerous or Spectacular can be tricky, because you can get caught up in the plot of it--but these are some fun and interesting ways to make the heist appealing to all kinds of players. Make it Spectacular The Real Loot Is The Friends We Made Along The Way One of the big things about a Heist is the spectacle of it. Why go through all the trouble to come up with a complex plan if you’re not also going to steal the statue of liberty. Go big. In the end, getting players and the GM all on the same page is what it’s all about. You’re Carmen San Diego big. Lupin III big.. If you’re running one of these Heists as a one shot, all there to tell the story you’re going to tell together, whether it’s through roleplaying or or are looking to really amp up the heist, make the Loot something spectacular. hardcore grinding of mechanics, you’re still figuring out what happens next. If you want to make it all about the characters, the biggest thing you can do is just come out and say why Make it something impossible to steal. This isn’t necessarily a great character motivation you want the thing you want. tool, but life doesn’t have to be all about internal drama. Sometimes you just want to drive a tank down a highway and ramp it off of something else--and if you want impossible It can be harder to do this in a roleplaying game where you can’t just script everything. But plans with impossible stunts, you need impossible loot. all you have to do is give yourself the opportunity to say what the Loot means to you. It might feel a little off to stop in the middle of talking about how you’re going to get past the The best part is you can still put a personal or metaphorical meaning on this, and then bank vault lasers, and instead say that the necklace you’re after is the only thing you have you’ll have to try and justify all of it. Loot like this sets the tone of your heist--which is the left of your family. Or that you want to get revenge on the owner of the diamond because other thing a good piece of Loot can do. they framed you and got you locked up for five years. The heist where you steal Big Ben should feel entirely different to the heist where you But heists are all about colorful characters. Whether you’re playing larger than life or not, break into a museum to steal a priceless diamond.
Recommended publications
  • Science, Values, and the Novel
    Science, Values, & the Novel: an Exercise in Empathy Alan C. Hartford, MD, PhD, FACR Associate Professor of Medicine (Radiation Oncology) Geisel School of Medicine at Dartmouth 2nd Annual Symposium, Arts & Humanities in Medicine 29 January 2021 The Doctor, 1887 Sir Luke Fildes, Tate Gallery, London • “One of the essential qualities of the clinician is interest in humanity, for the secret of the care of the patient is in caring for the patient.” From: Francis W. Peabody, “The Care of the Patient.” JAMA 1927; 88: 877-882. Francis Weld Peabody, MD 1881-1927 Empathy • Empathy: – “the ability to understand and share the feelings of another.” • Cognitive (from: Oxford Languages) • Affective • Somatic • Theory of mind: – “The capacity to identify and understand others’ subjective states is one of the most stunning products of human evolution.” (from: Kidd and Castano, Science 2013) – Definitions are not full agreed upon, but this distinction is: • “Affective” and “Cognitive” empathy are independent from one another. Can one teach empathy? Reading novels? • Literature as a “way of thinking” – “Literature’s problem is that its irreducibility … makes it look unscientific, and by extension, soft.” – For example: “‘To be or not to be’ cannot be reduced to ‘I’m having thoughts of self-harm.’” – “At one and the same time medicine is caught up with the demand for rigor in its pursuit of and assessment of evidence, and with a recognition that there are other ways of doing things … which are important.” (from: Skelton, Thomas, and Macleod, “Teaching literature
    [Show full text]
  • Download the Expanded Digital Edition Here
    Spring 1999 December 2002 April 2002 February 2003 May 2003 September 2003 November 2003 October 2004 March 2005 October 2003 November 2007 August 2009 July 2010 April 2012 September 2012 September 2010 April 2011 June 2012 June 2012 November 2012 November 2012 November 2012 January 2013 January 2013 January 2013 I created The Rainbow Orchid because making comics is such hard work that I wanted to write and draw one that I could be absolutely certain at least one person would really like – that person being me. It is steeped in all the things I love. From the adventure stories of H. Rider Haggard, Jules Verne and Arthur Conan Doyle I took the long build-up to a fantastic element, made all the more amazing because the characters are immersed in the ‘real world’ for so much of the story. From the comics medium I dipped my pen into the European tradition of Hergé, Edgar P. Jacobs, Yves Chaland and the descendents of their ligne claire legacy, along with the strong sense of environment – a believable world – from Asterix and Tintin. Yet I wanted characters and a setting that were very strongly British, without being patriotic. Mixed into all this is my fondness for an involving and compelling plot, and artistic influences absorbed from a wealth of comic artists and illustrators, from Kay Neilsen to Bryan Talbot, and a simple love of history and adventure. No zombies, no bikini-clad gun-toting nubiles, and no teeth-gritting ... grittiness. Just a huge slice of pure adventure, made to go with a big mug of tea.
    [Show full text]
  • The Client Who Did Too Much
    The University of Akron IdeaExchange@UAkron Akron Law Review Akron Law Journals June 2015 The lieC nt Who Did Too Much Nancy B. Rapoport Please take a moment to share how this work helps you through this survey. Your feedback will be important as we plan further development of our repository. Follow this and additional works at: http://ideaexchange.uakron.edu/akronlawreview Part of the Legal Ethics and Professional Responsibility Commons Recommended Citation Rapoport, Nancy B. (2014) "The lC ient Who Did Too Much," Akron Law Review: Vol. 47 : Iss. 1 , Article 6. Available at: http://ideaexchange.uakron.edu/akronlawreview/vol47/iss1/6 This Article is brought to you for free and open access by Akron Law Journals at IdeaExchange@UAkron, the institutional repository of The nivU ersity of Akron in Akron, Ohio, USA. It has been accepted for inclusion in Akron Law Review by an authorized administrator of IdeaExchange@UAkron. For more information, please contact [email protected], [email protected]. Rapoport: The Client Who Did Too Much ARTICLE 6 RAPOPORT MACRO (DO NOT DELETE) 2/5/2014 2:06 PM THE CLIENT WHO DID TOO MUCH∗ Nancy B. Rapoport∗∗ The whole point of the MacGuffin is that it is irrelevant. In Hitchcock’s own words, the MacGuffin is: the device, the gimmick, if you will, or the papers the spies are after. .[.] The only thing that really matters is that in the picture the plans, documents or secrets must seem to be of vital importance to the characters. To me, the narrator, they’re of no importance whatsoever.
    [Show full text]
  • Orange County Board of Commissioners Agenda Business
    Orange County Board of Commissioners Agenda Business Meeting Note: Background Material December 10, 2019 on all abstracts 7:00 p.m. available in the Southern Human Services Center Clerk’s Office 2501 Homestead Road Chapel Hill, NC 27514 Compliance with the “Americans with Disabilities Act” - Interpreter services and/or special sound equipment are available on request. Call the County Clerk’s Office at (919) 245-2130. If you are disabled and need assistance with reasonable accommodations, contact the ADA Coordinator in the County Manager’s Office at (919) 245-2300 or TDD# 919-644-3045. 1. Additions or Changes to the Agenda PUBLIC CHARGE The Board of Commissioners pledges its respect to all present. The Board asks those attending this meeting to conduct themselves in a respectful, courteous manner toward each other, county staff and the commissioners. At any time should a member of the Board or the public fail to observe this charge, the Chair will take steps to restore order and decorum. Should it become impossible to restore order and continue the meeting, the Chair will recess the meeting until such time that a genuine commitment to this public charge is observed. The BOCC asks that all electronic devices such as cell phones, pagers, and computers should please be turned off or set to silent/vibrate. Please be kind to everyone. Arts Moment – Andrea Selch joined the board of Carolina Wren Press 2001, after the publication of her poetry chapbook, Succory, which was #2 in the Carolina Wren Press poetry chapbook series. She has an MFA from UNC-Greensboro, and a PhD from Duke University, where she taught creative writing from 1999 until 2003.
    [Show full text]
  • Macguffin Film Working Title: Process Junkies
    Don’t Get Sued! Th is script is available through the Creative Commons Attribution 3.0 licence. As a way of showing thanks, please be aware of the screenwriter’s neurosis. Screenwriters are very particular about how they receive credit, and this script is no exception. While your fi lm project is essentially yours, please adhere to these guidelines when giving screen writing credit. If you use the screenplay with no modifi cations to it, credit me the following way: Screenplay by M. Robert Turnage, 26screenplays.com If you use the screenplay and modify it less than 50%, credit me the following way: Screenplay by M. Robert Turnage, 26screenplays.com and [Your name] If you use the screenplay and modify it between 51 and 90%, credit me the following way: Screenplay by [Your name] and M. Robert Turnage, 26screenplays.com If you use the screenplay and modify it more than 90%, credit me the following way: Original story by M. Robert Turnage, 26screenplays.com And if you just like the 26 Screenplays project or the idea of Creative Commons screenplays, feel free to show your support by adding the following credit to your fi lm: Special thanks to M. Robert Turnage, 26screenplays.com Of course, another way to show appreciation is to include some reference to the 26screenplays.com web site in your fi lm. Th is can happen by having a character wear a 26 Screenplays T-shirt, having the book displayed in the back- ground someplace, or just mention the web site on a monitor somewhere in your project.
    [Show full text]
  • Hitchcock's Screenwriting and Identification
    Remaking The 39 Steps Hitchcock’s Screenwriting and Identification Will Bligh May 2018 Faculty of Arts and Social Sciences, University of Technology Sydney. This thesis is presented for the degree of Doctor of Philosophy. Certificate of Original Authorship I certify that the work in this thesis has not previously been submitted for a degree nor has it been submitted as part of requirements for a degree except as fully acknowledged within the text. I also certify that the thesis has been written by me. Any help that I have received in my research work and the preparation of the thesis itself has been acknowledged. In addition, I certify that all information sources and literature used are indicated in the thesis. Signature of Student: Date: 18th May 2018 ii Acknowledgements I would like to thank my principal supervisor, Dr Alex Munt, for his on-going support and commitment to the completion of my research. His passion for film was a constant presence throughout an extended process of developing my academic and creative work. Thanks also to my associate supervisor, Margot Nash, with whom I began this journey when she supervised the first six months of my candidature and helped provide a clear direction for the project. This research is supported by an Australian Government Research Training Program Scholarship. Thanks to Dr Inez Templeton, who edited the dissertation with attention to detail. Lastly, but certainly not least, my wife Esther was a shining light during a process with many ups and downs and provided a turning point in my journey when she helped me find the structure for this thesis.
    [Show full text]
  • BFI | Sight & Sound | Film of the Month: Double Take (0) 21/05/10 12:26
    BFI | Sight & Sound | Film of the month: Double Take (0) 21/05/10 12:26 Home > Sight & Sound > April 2010 Film of the month: Double Take More than just a homage, Johan Grimonprez’s extraordinary montage uses Hitch’s mischievous TV appearances as the launch pad for a brilliant riff on Cold War politics and the idea of the double. By Jonathan Romney As all Hitchcockians know, a macguffin is the object of desire in a narrative – the thing that everyone is chasing, but that really has no function except to make the story happen. Hitchcock defined the macguffin in a famous anecdote. A man in a train is asked by another passenger about the mysterious object in the luggage rack; he explains that it is a macguffin, used to hunt lions in the Adirondack Mountains. But there are no lions in the Adirondacks, the other man objects. To which the first imperturbably replies, “Then that’s no macguffin.” In Double Take, Alfred Hitchcock himself is the macguffin – the protean, elusive mystery around which Johan Grimonprez’s extraordinary montage revolves. Hitchcock’s narrative strategies, thematic obsessions and persona have long fascinated artists: Pierre Huyghe and Douglas Gordon are among those who have recently attempted entire or partial remakes – ‘doubles’ – of Hitchcock films. Now the Hitchcockian theme of doubling is the basis of this hybrid film by Belgian film-maker, artist and academic Grimonprez, who previously explored the topic in his 2004 short Looking for Alfred, about his search for Hitchcock lookalikes. In Dial H-I-S-T-O-R-Y (1997), Grimonprez used archive footage to contemplate our era through a chronicle of airline hijacks.
    [Show full text]
  • A Glossary of New Testament Narrative Criticism with Illustrations
    religions Article A Glossary of New Testament Narrative Criticism with Illustrations James L. Resseguie Winebrenner Theological Seminary, Findlay, OH 45840, USA; resseguiej@findlay.edu Received: 10 February 2019; Accepted: 15 March 2019; Published: 21 March 2019 Abstract: This is the first stand-alone glossary of New Testament narrative-critical terms in the English language. It is an alphabetical listing of prominent terms, concepts, and techniques of narrative criticism with illustrations and cross-references. Commonly used terms are defined and illustrated, these include character, characterization, double entendre, misunderstanding, implied author, implied reader, irony, narrator, point of view, plot, rhetoric, and other constitutive elements of a narrative. Lesser-known terms and concepts are also defined, such as carnivalesque, composite character, defamiliarization, fabula, syuzhet, hybrid character, MacGuffin, masterplot, primacy/recency effect, and type-scene. Major disciplines—for example, narratology, New Criticism, and reader-response criticism—are explained with glances at prominent literary critics/theorists, such as Aristotle, Mikhail Bakhtin, Wayne Booth, Seymour Chatman, Stanley Fish, E. M. Forster, Gérard Genette, Wolfgang Iser, and Susan Sniader Lanser. Keywords: narrative criticism; narratology; literary terms; literary criticism; reader-response criticism; New Criticism; close reading 1. Introduction Narrative criticism focuses on how the New Testament works as literature. The “what” of a narrative (content) and the “how” (rhetoric and structure) are analyzed as a complete tapestry, an organic whole. Narrative critics are concerned primarily with the literariness of New Testament narratives or the qualities that make them literature. It is a shift away from traditional historical-critical methods to how the text communicates meaning as a self-contained unit, an undivided whole.
    [Show full text]
  • A Deep Dive I'm Reggie in This Episode, Why Do Some Movies
    Welcome to A Deep Dive I’m Reggie in this episode, Why do some movies have the power to transport us to new worlds, make us cheer or plunges us into utter despair even when we know the outcome? What role does the willing suspension of disbelief or our imagination play in expanding our sense of possibility and our empathy? Thanks for joining me for Life at the Movies. I wanted to this episode for a few reasons. Aside from the sheer entertainment movies have provided me over the years they have also had a profound effect on my creativity, my worldview and my sense of empathy. The other reason is I'm a little troubled by our modern penchant for pulling a series or film apart, Reddit threads and entire YouTube channels devoted to finding gaps in a films or series logic not to mention the raging debates about the historical fidelity of a movie or a series as if authenticity heightens the viewing experiences and it might. I’m just saying art has a bigger job to do if we let it. I know that might sound highfalutin but I believe art and film, in particular, have a transformative power. Think about your favorite movies I’m sure had a movie-going experience that lifted you out of your day today. What we're talking about is something human beings have been doing since we sat around fires listening to stories. There’s a fair amount of research into how we engage with movies, and what it is that connects us to a story.
    [Show full text]
  • Review of Charade
    City University of New York (CUNY) CUNY Academic Works Publications and Research CUNY Graduate Center 2010 Review of Charade Michael Adams City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_pubs/114 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Charade (Blu-ray) (Criterion, 9.21.2010) “Oh, it’s a Universal picture. I’ll bet it’s Charade. I’m Stanley Donen. I produced and directed this picture. I hope you forgive me.” “I’m Peter Stone. I wrote it, and you don’t have to forgive me. I’m pleased as punch.” Thus begins the commentary by the director and screenwriter of Charade, and Stone gets it right. Charade is a nearly perfect entertainment, arguably the best imitation Hitchcock, and one of the last true movie-star movies before the studio system bit the dust. I’ve seen it at least 25 times since its 1963 release and never grow tired of its considerable charms. Charade opens with the murder of Charles Lampert, soon followed by the discovery by his widow, Reggie (Audrey Hepburn), that she knew nothing about her husband. The mysterious Peter Joshua (Cary Grant), who goes by three additional names before the film ends, tries to help Reggie sort out a puzzle made more complicated by the presence of three thugs, Gideon (Ned Glass), Tex (James Coburn), and Herman (George Kennedy).
    [Show full text]
  • Using Movie Trailers in the Language Arts Classroom
    Using Movie Trailers in the Language Arts Classroom NCTE Session Fall 2015 Callie Kane, Nick Nelsen, Erin Perry, Rob Schebel Valley High School, West Des Moines, Iowa See all documents, slides, and videos at https://goo.gl/3SZxS0 Language Arts Lesson Template Lesson Name: Movie Trailers Pre-Reading Author(s): Rob Schebel Subject/Course: Early British Literature Topic(s): Media, Film Trailers, Pre-Reading Strategies, Chaucer Date(s): 11/20/2015 Common Core State Standards CCSS.ELA-LITERACY.SL.11-12.5 Make strategic use of digital media (e.g., textual, graphical, audio, visual, and interactive elements) in presentations to enhance understanding of findings, reasoning, and evidence and to add interest. CCSS.ELA-LITERACY.CCRA.R.7 Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words. Lesson Objectives / Learning Targets 1) Students will analyze plot, setting, and characterization in a Star Wars movie trailer and with excerpts from Chaucer’s “The Prologue” to The Canterbury Tales. Anticipatory Set 1) View Star Wars Trailer (1:24) and discuss. (5 min) Learning Tasks 1) Hand out 3- column spreadsheet note graphic organizer (“Movie Trailers Graphic Organizer”) and reiterate the elements of plot, setting, and characterization. (5 min) 2) View the Star Wars Trailer again. (2 min) 3) Students fill out plot, setting, and characterization portions of the graphic organizer with what they can discern from the trailer only (excluding prior knowledge). (5 min) 4) Large-group discussion about student conclusions. Determine early (by show of hands) which students possess prior knowledge about the movie.
    [Show full text]
  • The Representation of Disability in the Music of Alfred Hitchcock Films John T
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2016 The Representation of Disability in the Music of Alfred Hitchcock Films John T. Dunn Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Dunn, John T., "The Representation of Disability in the Music of Alfred Hitchcock Films" (2016). LSU Doctoral Dissertations. 758. https://digitalcommons.lsu.edu/gradschool_dissertations/758 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE REPRESENTATION OF DISABILITY IN THE MUSIC OF ALFRED HITCHCOCK FILMS A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music by John Timothy Dunn B.M., The Louisiana Scholars’ College at Northwestern State University, 1999 M.M., The University of North Texas, 2002 May 2016 Acknowledgements I would like to thank my family, especially my wife, Sara, and my parents, Tim and Elaine, for giving me the emotional, physical, and mental fortitude to become a student again after a pause of ten years. I also must acknowledge the family, friends, and colleagues who endured my crazy schedule, hours on the road, and elevated stress levels during the completion of this degree.
    [Show full text]