Sometimes the author is dissatisfied and rebels against the underlying premise.They may forswear any literary, character-driven, or other interpretations, placing rigorous consistency above all whether or not it makes a good story and apply similar standards when judging film adaptations, even when there'd be no film if their proposed changes were made. Conversely, the need for the plot to work as an actual story is a problem for overzealous fans who attempt to explain away an aspect of the story that requires Broad Strokes.This trope is surprisingly often defied by novice (and, on occasion, not-so-novice) critics reviewing comic book film adaptations and Fantasy, when they dismiss an entire genre in its opening paragraph by pointing out that the very premise of the story is realistically impossible and rests upon childlike simplifications - and anyone who takes such stories seriously must by definition be irresponsible and childish themselves see Complaining About Shows You Don't Like and Bias Steamroller.Both, however, tie into the idea that in order to enjoy a fictional narrative, certain parts of that narrative must simply be accepted or at least tolerated by the reader in order to enable the story to be told. When it comes to seeking out enjoyment in fictional works, the MST3K Mantra and the Anthropic Principle are diametrically opposed philosophies: The former says that some details don't need to make sense because they ultimately don't matter, while the latter says that certain details of the story do matter because they are the foundation of the story itself, and accepting those details on faith is critical to the audience's enjoyment of the show even if it doesn't make much sense from an outside viewpoint. Writers can help audiences suspend disbelief with some Techno Babble or Applied Phlebotinum, but in the end one must simply accept that humongous mecha are possible within the context of the story, because without accepting it, there is no story. Getting hung up on the fact they do not exist in the real world will likely prevent you from engaging with the work at all. But, in this fictional universe, they do. For very good practical reasons, as well as plain old physics (like the Square-Cube Law), humongous mecha as portrayed in fiction do not exist. Take, for example, a story that features Humongous Mecha as a key plot element. The ultimate expression of this trope is Minovsky Physics - these elements are actually carefully planned in advance, ensuring a logical transition from real life to the fictional universe. The Anthropic Principle as it applies to fiction is similar: Every fictional universe has fundamental, axiomatic elements without which its story simply could not happen, and the reader must accept those elements in order to enjoy the work. that the probability must be 1 but this misses the point. A common misinterpretation of the strong anthropic principle is that the universe must necessarily be such as to permit the emergence of intelligent life (i.e. note These two statements are sometimes called the weak and strong versions of the anthropic principle. The best we can say is that the probability of such a universe existing is greater than zero (because we exist). Furthermore, this means it is impossible to extrapolate from our own universe any estimate of the probability of being in a universe where intelligent life is possible, because whether the chances are probable or not, it would look the same to us, as our universe by definition must be capable of supporting intelligent life in order for us to ask the question in the first place. The original Anthropic Principle is the hypothesis that there must be statistical limits to what observations we can make concerning the structure of the universe: any observation must be within parameters that permit the emergence of intelligent life, because if this was not so, we would not be here to observe them. Mickey the Dick (when asked by multiple fans why he doesn't simply leave the show), Wacky Game Jokez, 4 Kidz!įor any given story, there exist basic elements that, no matter how improbable or impossible their occurrence, are required for the story itself to happen, or there would be no story.
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