Not that we can be blamed for shifting our focus onto plot. BioShock’s clever comment on the relationship between player and game designer wasn’t the only reason we wanted to explore Rapture, and Titanic wasn’t just about watching a ship sink. By that position, we didn’t sit down with Telltale’s The Walking Dead just to see who lived and who became chum – we wanted to see how those sharply defined characters responded in an extraordinary survival situation. King’s way of thinking is that a good premise always trumps a carefully wrought plot. I distrust plot for two reasons: first, because our lives are largely plotless, even when you add in all our reasonable precautions and careful planning and second, because I believe plotting and the spontaneity of real creation aren’t compatible.” “I won’t try to convince you that I’ve never plotted any more than I’d try to convince you that I’ve never told a lie, but I do both as infrequently as possible. Stephen King had this to say about it in his 2000 book On Writing:
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Our shift in behavior since those insouciant days suggests a shift in our emphasis towards plot, which prior audiences seemed not to value as highly as the work as a whole.
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Newborn babies in 1999 came into the world already in possession of the knowledge that Bruce Willis was a ghost all along, but the widespread proliferation of The Sixth Sense’s plot twist did little to affect its box office return. Had somebody told you the identity of Laura Palmer’s killer halfway through the first season, it’s unlikely the name alone would have been enough to extinguish your intrigue and stop you from tuning in the following week. It seems what’s new about spoilers is the power they have over us. And before The Birds, Psycho and Vertigo, Citizen Kane invited moviegoers in 1941 to guess what ‘rosebud’ meant to its eponymous media mogul.Īll these entertainment vehicles made an impact deep enough that we’re familiar with them decades later, and surely not without the odd mischief-maker broadcasting the solutions and revelations to each of them. Night Shyamalan’s films would also find huge audiences using a third act plot twist device Alfred Hitchcock honed throughout the fifties and sixties. Later that decade, and not long after Titanic’s record-breaking run, M.
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1990s TV began with Twin Peaks, a show with a strange new voice, but one built around the central mystery of who killed Laura Palmer. It isn’t the plot twists and grand reveals themselves that are new. By now, the spoiler is something worth setting your phone to airplane mode to, building a roadblock on the information superhighway until you can get back to your film, TV show or game and experience its conclusion on your own terms. We’ve been using that word to describe malicious exposition since the early eighties, but its power has increased over time. Their sting is felt especially keenly in games, which often require many hours of investment to reach the ending and whose interactive nature can lend a particularly personal aspect to plot. Spoilers are damaging things, modern culture agrees, making good on their name and ruining our enjoyment of anything with a plot by divulging revelations and twists against the consumer’s wishes.
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For you have become the peddler of the spoiler.
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But the way we relate to the content itself – specifically any and all details of plot – has also deepened.Ĭlimb up onto the social media rooftops and bellow the details of Squid Game’s eighth episode or The Last of Us 2’s final cutscene today, and in an instant you’d become the kind of pariah who might have found themselves picking feather and wood tar off their skin in another age. It’s become exponentially more available, passing many milestones of fidelity and convenience. In the intervening years between Jack and Rose’s frustrating inability to share a piece of driftwood and your current Netflix watchlist, the culture around how we consume entertainment media has changed. The $2.2 billion it made at the box office told us that much. RMS Titanic’s inexorable journey to the floor of the North Atlantic ocean was no less of a draw to moviegoers for being a foregone conclusion, even as the early viewers spread word of who wound up in the drink and who didn’t.
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It was a movie whose final act was an ironclad in its certainty, documenting as it did one of the great maritime disasters in human history. Everybody knew this when James Cameron brought his latest blockbuster to cinemas in late December 1997.