While the horseman approaches our trio, let’s take a moment to reconsider the initial conundrum that got us all here. Words, or more specifically the lack thereof, and if the words don’t start flowing here soon our journey will be ending much sooner than had originally been planned.
Imagine you are sitting on your living room sofa shortly after realizing you have a trio of characters sleeping under some tree in the foot hills of a valley with a mysterious horseman headed their way. And then, the metaphor you have been so cleverly working with turns its ugly head. Rears back on its haunches, and POOF! The penultimate existential crisis, no motivation.
Take the author’s current case in point. First, in the context of the previous few chapters, is it legitimate to refer to the author at this point? Hadn’t we gone to great lengths to individuate constituent pieces of a thought process to create separate entities, namely Adam, Seth, and Sarah? Further, hadn’t Seth and Sarah been relinquished to the story plot in sacrifice to the voices in the author’s head?
It is safe to say that these events have occurred, there is written proof, we have history here, gone through thick and thin, committed to the agreement in a blinding flash of lite concluding that there was a world above and a world below. The firmament below and heaven above as witnessed by the ascension of a point of light and the declaration that narrator would be the only omniscient being in the story.
Yet here we are. As metaphors go, this one is a doozy.
But, it is the central theme of this story. The journey of discovery, into the belly of the beast, atonement, the ultimate boon, and return with the treasure. At this point the metaphor becomes the reality and the author intervenes.
To be sure, this isn’t totally unplanned. Somewhere back in session five or so, it was decided that the fourth wall would be broken more carefully moving forward, but then, what’s the fun of rules if they aren’t to be broken. So, kick that wall down, here we are.
So how is the metaphor going for you? The author has found it quite liberating, allowing a more free and easy approach to the thing.
None the less, there’s a story to be told, booty to be had, sequels to be written into the plot line. Which brings us back to our characters.
Seth and Sarah have come on the scene in the nick of time. Without them Adam would be left wandering alone and mumbling to himself along the way to the beach. They also present interesting options along the way that Adam may have not considered any other way.
In example, what should be made of the horseman coming across the valley. What of the valley itself and how it relates to the king’s castle? Is the horseman associated with the castle. All interesting thoughts, of which no concrete direction has been established. This then, is really the point.
Adam, Seth, and Sarah exist in a world where they have free choice and ramifications of that choice. There is, however, never any certainty of what that choice would be. Such as life in any universe. To be sure, the story being told here is one considering choice and ramifications.
We could say the choices that each of our characters face present the story’s arc, and the ramifications thereof character arc. What is left for grabs is how much arc. Arc it seems, to the author, is built through development.
Has this world been properly developed? Safe to say, no.
We know there is a kingdom, in this kingdom there is a deep forest, a cottage in the middle of the forest, a path leading through the forest to a labyrinth, and a valley. Of course, there’s the castle too.
I would think then there needs to be some time developing the universe to some depth before we move forward. As we have introduced time travel and spatial relativity, it would be easy to flash along a timeline that captures the developments in question. We could, in example, go back to the big-bang of the universe in question and fast forward. That, however, could strain the limits of the existing word processing power at hand.
It could be argued that greater works have been created with equipment much more inferior than the tools currently in the author’s hands. It would follow then, the more powerful processor would be the one running in the author’s head. If his brain can’t do it, then it can’t be done. To get it done is a challenge, and the challenge is at hand. Thus, the journey continues.
So as the green phosphorous letters glow on the screen (simulated of course, the author hasn’t seen an actual CRT spitting electrons across an illuminating surface in decades) the author commences his quest. The quest to create come rain or shine, hell or high water. To write every day, to move the story forward. To create the highest form attainable, the suspension of disbelief.
All that is left is to return to the valley and our trio, and to carry forward the meeting with the mysterious horseman. And we will do this shortly.
But for the moment the author savours another small victory in accomplishing the task of creating a flow of words across the empty expanse of screen before him. This task is worthy of any quest of old, and certainly matching the quest our trio has embarked upon. Aren’t they the same thing after all?
Seth woke first while Adam and Sarah rested comfortably near the warmth of the banked fire. As he sat up, a horse snorted near the camp. Seth grabbed his spear, crouching to protect Sarah and Adam. The horse entered their small camp. The man riding was tall in the saddle. His grey hair long from his head and joining the length of his beard in the middle of his belly. The horse a majestic black, fully 10 hands tall, heavily muscled pulled to a stop across the fire pit from Seth.
“I mean you no harm” Said the man on the horse. “I come to tell you the dangers you have found yourselves in by entering this valley.”