Should there be a limit to getting out of trouble with extraordinary power?

Threddy

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My character, Toshu is at the moment stuck fighting against two creatures, Lizarii. The only way to beat these monsters is to weaken their magical defences by using firal(adjective of something to do with fire) magic and a weapon at the same time. Toshu has a weapon and his companion can do magic but they are apart from each other and they are both fighting a Lizari. Toshu can also do magic(in fact he's very good at it) but he hasn't been taught much.

My Dilemma:
Should I make Toshu do something spectacular even though he hasn't been taught and he's already done it once in the book and I've planned for him to do it again at the end of the book? Or should something not very exciting happen and Pasadomal(companion) somehow get to Toshu so they can fight the Lizarii with magic and metal?

Sorry about the long post.
Ed - Threddy.
 
Just thought of another detail, if he does do something spectacular, it will be what I'm hoping would be the cover of the book.
He'd be holding a ball of fire in one hand and his sword point on the ground in the other, with his head down.
 
Hi

I think most powers should have an upper limit which increases with practice.

You could make him conquer the creatures by accident, and be totally shocked that he could do it, and not quite sure how he actually did it. Then later in the story you could show him finding out how it was done, and seeing that it was more easy then he first thought. If you get my drift!

Hope that helps!
 
First, having a character use power (magical or otherwise) that is normally beyond their skill to resolve a conflict is a cliche. Cliches should be avoided at all times.

Second, you need to make sure your world is consistent and follows its own rules, however unique they may be, otherwise you'll constantly be trying your readers' patience. Your story will end up reading much like a few popular anime series, where each new, more difficult encounter the characters are presented with is easily overcome after aforementioned characters finally discover how to tap into sources of power which were previously unknown to them. I believe Dragonball Z did this to a nauseating extent; each new "villain" was more powerful than the last, and each was destroyed when the main character eventually found a way to become more powerful so that they could destroy them, and by the end of the entire series some characters were (theoretically) so powerful they could rip the fabric of space and time. Pretty cheap stuff if you ask me.
 
There absolutely should be a limit with extraordinary powers, especially when applied to getting out of trouble. The problem with the extraordinary powers and trouble is that it's all to easy to fall into a deus ex machina situation, quickly defined as being:

  1. In Greek and Roman drama, a god lowered by stage machinery to resolve a plot or extricate the protagonist from a difficult situation.
  2. An unexpected, artificial, or improbable character, device, or event introduced suddenly in a work of fiction or drama to resolve a situation or untangle a plot.
  3. A person or event that provides a sudden and unexpected solution to a difficulty.
Not something you really want to inject into your story as it removes much of the conflict the character needs to go through in order to grow, and that's dangerously close to what you're thinking of doing here.

Now, you have foreshadowed that he can do something amazing, which opens the door for future use, but will use of it now detract from the later use toward the end? Does it feel right to get out of the situation by using it, or does it feel like you're defeating yourself or taking something away from character or story by using it here? Does it feel at all like it's the easy way out and because it's less effort that's why you're drawn to it?

Having established it can be done, it's entirely plausible he could do it now, though if he does, I (personally) would reserve it as a desperate act. Say, Pasadomal (terrific name, btw) is wounded by the Lizari and falls out of Toshu's sight. The wound doesn't have to be fatal, of course, nor should it be, but Toshu, in the chaos of the moment catches Pasadomal go down, presumably with some sort of cry from pain and surprise, and in a panic, without knowing what else to do, he calls on this power. In this situation you're giving him a reason to do something extraordinary, rather than doing something extraordinary because you don't know what else to have him do.

Always keep in mind the drive of the character, the motivations, what keeps him going, and what could shatter his world. Just how desperate would he get if his companion were to be killed? What level of panic would he feel? What would it take to get him desperate and panicked enough to attempt a power he (I assume) barely understands.

You might also consider giving the power consequences he's aware of that make him hesitate to use it. Consequences he perhaps learns of first hand that would be reason to give him pause, and reason to make him use it despite those consequences to save a friend. I think one of the best things you can do when giving someone some god-like special ability is to make sure it has its own drawbacks, otherwise what reason does the character have, other than altruistic intentions, to not use the power at will? Providing the potential is one thing, but giving someone access to phenomenal, or even semi-spectacular power with a vague understanding of "because it's important for this particular scene in the future" gives a sense of unreality and makes it hard to swallow what the character is doing, in part because it can feel like you just stopped trying at that part, stuck in a deus ex machina and moved on.

Follow?
 
Does the character have to beat these things? I know it's tempting to use something like "Oops, I panicked and killed both of these normally difficult-to-kill creatures with my untrained fire magic by accident!" Instead, why not have them try various ways to fight these things and, as the fight goes on and the futility becomes evident, have them realize that their only option is turn tail and run, barely escaping with their lives.

One of my characters, a gifted but rather untrained sorceress, has a few encounters like this, and I find them to be much more enjoyable to write (and read) than "I blacked out, and when I woke up, every bad guy around me was a smouldering pile of ash!"
 
My character, Toshu is at the moment stuck fighting against two creatures, Lizarii. The only way to beat these monsters is to weaken their magical defences by using firal(adjective of something to do with fire) magic and a weapon at the same time. Toshu has a weapon and his companion can do magic but they are apart from each other and they are both fighting a Lizari. Toshu can also do magic(in fact he's very good at it) but he hasn't been taught much.

My Dilemma:
Should I make Toshu do something spectacular even though he hasn't been taught and he's already done it once in the book and I've planned for him to do it again at the end of the book? Or should something not very exciting happen and Pasadomal(companion) somehow get to Toshu so they can fight the Lizarii with magic and metal?

Sorry about the long post.
Ed - Threddy.


Hows about this?
Pasadomal knows he can't defeat his oponent by magic alone, so he sends a firal spell at Toshu (something that only a master magican can do?) knowing that it could destroy his friend but hoping that Toshu will be able to use his own defensive magic (that he had earlier taught to Toshu) to anticipate the spells approach and somehow divert it against his foes, if he succeeds he can then come to Pasadomal's aid? and by 'reading' or maybe 'feeling' the spell's form, Toshu later manages to understand the complexity of Firal Magic? You could also set up a nice bit of dialogue between the two about Toshu's annoyance that his friend had sent a powerfull spell against him in the hope he wouldn't be destroyed by it:D:D?
 
How about the passing stranger angle. Chance to introduce a new character who could join the happy throng or someone to kill off in the act of daring do etc.
 
How about the passing stranger angle. Chance to introduce a new character who could join the happy throng or someone to kill off in the act of daring do etc.

I was going to suggest something similar.

have your heroes getting beaten and a lone character come to their rescue.
you could even keep the character as a mysterious stranger who may or may not be entirely friendly towards your hero and leaving the encounter with a parting remark along the lines of "we'll meet again when you are ready" (although that is a bit cliched)
 
My Dilemma:
Should I make Toshu do something spectacular even though he hasn't been taught and he's already done it once in the book and I've planned for him to do it again at the end of the book? Or should something not very exciting happen and Pasadomal(companion) somehow get to Toshu so they can fight the Lizarii with magic and metal?

IMHO, what would make the use of magic "spectacular" or not in any particular instance is not how flashy or dangerous it is, but rather the inherent drama in the scene and what its meaning is to the characters. You say that Toshu has done this spell once before? In that case, I can't fathom why he wouldn't at least attempt it again in such a dire situation. I presume there must be reasons why he's keeping this ability secret and/or he hasn't been taught how to use this spell on a more routine basis. What is the cost for him now? There's your drama. Maybe, in your world, magic is affected by adrenaline just like physical strength that could make him pull of something extraordinary.

I think you have three options. 1) He uses the power subconsciously in the heat of battle, and he will have face whatever repercussions there are for this afterwards. (Maybe his old friends start to view him differently after the display of power, and he feels isolated, etc.) 2) He consciously chooses to use the power. The same repercussions, but this time he weighed those repercussions against the cost of dying in battle. 3) He thinks about using the power, thinks about the repercussions, but then Pasadomal comes to the rescue.

In any case, you've already established that Toshu has this potential, so there's no reason you can't play this card now. It's true though that you will have to up the ante for the final scene somehow.

I definitely wouldn't use the mysterious stranger option. Then you've just got "mysterious stranger ex machina."
 
Thank you for all of your very useful posts. Especially Malloriel.

I don't particularly like the idea of a stranger coming to the rescue because it seems unlikely that the stranger passing at that particular would be skilled in magic(very small percentage of people are in Todos).

I feel that Toshu will use his extraordinary power again, because after all, as you find out at the end of the third book he is... (can't tell you that, sorry).

Thanks again for your comments.
Ed - Threddy
 
IMHO, what would make the use of magic "spectacular" or not in any particular instance is not how flashy or dangerous it is, but rather the inherent drama in the scene and what its meaning is to the characters. You say that Toshu has done this spell once before? In that case, I can't fathom why he wouldn't at least attempt it again in such a dire situation. I presume there must be reasons why he's keeping this ability secret and/or he hasn't been taught how to use this spell on a more routine basis. What is the cost for him now? There's your drama. Maybe, in your world, magic is affected by adrenaline just like physical strength that could make him pull of something extraordinary.


He hasn't done that particular spell before, but he has done something else which is I suppose a more complicated spell but he did not do it out of choice but out of instinct and therefore does not know how he did it, also, if it hadn't been for Pasadomal, he would have died after that spell. To be honest, it's not a particularly extraordinary power, it's more the fact that he doesn't know how to do it and he would be repeatedly doing things out of instinct.

Ed - Threddy
 
According to the narrator of George of the Jungle, "every story gets to have one really big coincidence..." Big godly deus ex machinas and unexpected occurances count much as coincidences. I've also heard (and agree) that they're best at the beginning of the novel, rather than at the end.

The best way to pull it off is to assign motives and reasons to everything that happens, even if it isn't explained to the reader at that point. And results/consequences. If, for example, this incredible thing happened, but the character has no idea why or how, and later he tries to pull it off again, and fails. Or between the first time and the end of the book, the character begins to understand why something has happened, such that he begins to gain control over it, so that it no longer falls into the "random, extraordinary" category.

The more randomness you can eliminate from the story, the stronger it will become. Deus ex machinas feel cheap because they sidestep the resolution of the drama. They are acceptable in moderation, since some situations have no good solution, but aren't as strong as if the means to the end develops from the beginning. If you can possibly give motive and explanation in the story, then do so.
 
Thanks for the comment Lith.
Very useful and what I was thinking would probably happen.

Ed - Threddy
 
Just a personal opinion, but I find it really annoying when it is hinted that a character has some power, maybe even use it, but then can't seem to use it again for page after page. That is fine for 50-100 pages after the power is revealed, but when it is the whole book, or worse a whole series of books, it just becomes a painful waiting for the reader. To much cliff hanging makes a platou.
 
I'm all for characters doing things beyond their limits but it can never be a predictable effect each time - the result has to be completely surprising.

Later on they can perfect their techniques and figure out how they did it that first time.

In the mean time perhaps consider that the desired out come is achieved,but it also creates an unintended effect (for instance the fire blast could be so bright that it severely effects his eye sight for a while... that'll teach him!)

Cheers
 

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