BLANDCorporatio wrote:In my case, no, the real question is "what does it mean {that random debris seems to be conveniently placed}?".
You could go back all the way to the first comics in book 1 and ask, "Why did one Side get an extra gem?"
We're not talking about the same thing here, I think. "How it affects (our reaction to) the story" is framed in the "emphasize the Titanic good luck GK seems to be enjoying" way of seeing things.
What good luck? The only "good luck" GK has ever had is Parson. GK would have been destroyed if not for Parson. All the forces in Jetstone would have been destroyed except for Parson. You're focusing entirely on a few small events, and ignoring the bigger picture that GK has the worst luck of any Side in the Big Picture scale.
And GK didn't get that "good luck" by accident: for some reason, some conspiracy chose Stanley and gave Parson to him. Again, it wasn't luck, but design of the inhabitants of Erfworld that saved Stanley.
Parson has stated clearly that Bonuses are the most important factor in the game. Stacking bonus on bonus wins, but not everyone seems to have learned that. Transylvito calls stacking Leadership bonuses on cheap units the "Transylvito Way", which suggests it's unique to them, or at least uncommon. Ossomer accused Ansom of linear thinking, using "siege heavy infantry", which showed no abuse of the Bonus mechanic until Parson started applying it, forcing Ansom to respond similarly.
I don't know why you're so focused on this. It happens in every story. I think Steven Brust put it best in one of the Taltos books: the hero always has what he needs to win. If he's on a cliff, then he finds a crevice he has the skill to climb, or finds a rope. Stories don't end with the hero stuck on a cliff with no way out, starving to death, or jumping to suicide. That luck may extract him from that situation doesn't mean there is a divine hand, only the author writing himself into a problem that he decided to get the character out of without his own skill.
You're correlating all of those bits of "good luck" and trying to turn it into the Titans enforcing their will to ensure a victory. But that Victory has almost failed twice, with only Parson stopping it. Why? Because the story is about Parson, and he isn't going to starve to death on a cliff.
Indeed I look for a purpose here, but not for the bonus mechanic. Because I care about one, and stopped caring about the other ages ago, sometime after KW showed up. To explain, Erfworld is not a game system for which we have a complete, known set of rules. And eventually I understood why this is helping the story to get written, therefore stopped caring that much about bonus mechanics and the like.
But by doing so, you can wind up attributing the "divine" for what was a mechanic. There is a story, and a game, and Rob is demonstrating both to us.
The higher purpose I do look for is simply an explanation for a string of unlikely events. With the understanding that strings of unlikely events sometimes happen, but when they do, it becomes reasonable to ask whether something else is happening.
What is happening is what the author needs to happen, in order to keep Parson off that cliff.
You can see divine manipulation in anything if you seek it, because someone always wins. Luck always has a place on the battlefield, and I shouldn't have to present examples of that truth. Everyone has luck and unluck, so if you look to the victor and his luck, you will always find the divine, because that's what you were looking for.
You don't need grandiose explanations based on randomness to see the Titan's hands it what is going on. You can state that Wanda was born to select Parson, and all of her life designed for that one event. That alone makes far more sense than bogging down in a few random events, no matter how unlikely. Sylvia is replaceable, as is everyone except Wanda, Stanley, and Parson, it this story is truly about creating Peace for Erfworld.
Probably NOT. In some earlier post I conjectured that this string of good luck will eventually be explained
Highly unlikely. Authors like some things to go unexplained, and I for one never expect Parson to meet the Titans.
TNG did have arcs, but you're referring to moments in the spotlight for tertiary characters like Barclay or whatever his name was.
Not quite. In one story, the main problem may be a teleporter malfunction spawning aliens, but Doctor Crusher may be working on a cure, or having a relationship with a visitor, or be trying to figure out what a message from her son means. Barclay was a problem for Deanna, but was usually a main plot element rather than a secondary, though I think he filled that role at least once.
Still, I'm a bit skeptical about TNG inventing the concept of either (myth-)arc, as I am about Scooby Doo inventing the secondary story. Surely older shows on TV would have had those?
ST:TNG is acknowledged as the show that did it on purpose first, and grew to understood the formula. I'm certain other shows would do it periodically prior to then, but ST had a reason for doing it, and proved it worked very well on the long term. After ST:TNG, many shows use that formula.
By comparison, how many shows go with the Hill Street Blues formula of a half dozen cops working a half-dozen cases? Now consider the CSI series: isn't there always a main mystery, and a side story about one of the CSI's personal lives? That's the ST:TNG formula again. NCIS, you have the main mystery, and some interpersonal tease running throughout the story.
Of course, there are other formulas. Prime Time Hospital dramas tend to use the soap opera style of a dozen small plots dotting the moments in between medical emergencies. (Daytime skipped the medical emergencies.) But what about House? It is classic two-story, with the main plot and whatever game House is playing on someone, or being played on House, or between the team members for House's amusement. Pure character development.
Well, I always expected Charlie to be the Final Boss.
Howard Hughes makes a terrible final Boss.