“Picture of a man, a weary dreamer in a mundane world, and thus like many steeped in occult matters and fantasy diversions. One harmless enough after all, indulging in the fictions of alien visitors or out-of-place artifacts, the coy suggestions of might-have-been believed fervently by others and made believable by careful atmosphere and storytelling. But in the search for horror fiction and urban fantasies, such a man is likely to encounter horror of a very different kind, in the form of a show that purports to trade in such favored topics but instead trades in other things, a profusion of cheap twists supported by obnoxious characters and forced scenes. Because, at this Occult Academy, the subject we’ll be teaching is not about monsters or spirits but about writing, and the worst is about to be on display.”
So, Rod Serling style narration aside, let’s talk once again about constructive issues in shows, because there are going to be a ton of them to explore in Occult Academy. Many we’ll have to get to as we get to them in the summary of the plot, but let’s lay out the basics here at the start. For one, we’re going to have to talk about tone and atmosphere. We’re also going to need to talk about character growth, twists, and when a writer should let something go.
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