The whole point of this chapter is to not let privilege turn into hubris. Of course, all endings are a pile of skulls-- happy-evers are in the living of them. If the privileged don't examine and mend their ways, they rob children and families of what happiness they might have. Villains instead of heroes.MerchManDan wrote:THANK YOU!!! Good grief, there's a lot of paranoid people in this forum.trainer wrote:Things don't always need to turn into a disaster.
There was a period when the Greek cities held competitions for tragic plays; you had to submit three of them together-- hence all the tragic trilogies. They would be performed back-to-back, to reemphasize how heroes get themselves into horror and tears by exercising their will on others; catastrophe, a triple-down on disaster.
But they'd be followed by a fourth play, also required: the satyr play. This would be a romp on the same theme as the tragedies it followed. Most are lost, because they were too bawdy to survive the Dark Ages, but they were very popular in their time, as they lifted the spirits of their audience, and put them in a mood to jump back into the dance of life. The sober reflection on hubris having been absorbed, the pile of skulls having been stared at good, long and hard, it was time to return and celebrate the general happiness that not being dead entails.
I imagine Nudge would be good at tailoring one for modern paranormal kids. Castela plays the princess who saves her sister, mom and aunt from an absurd mountain range of tragedy and sadness. You can't die now, because how would you learn anything? Who's the audience in this scenario.
