Clockwork Universes
One of Breaking Bad’s greatest strengths is something that has been the greatest weakness of almost every other show that has attempted such a thing: It takes place in a clockwork universe. The “clockwork universe” is a storytelling world where every single character and element is meant to contribute to the overall forward thrust of the story and its attendant themes. The characters may have rich inner lives. They may seem to have free will. But the more the workings of the story are poked at and pulled apart, the more the characters are revealed to primarily be there to play specific roles within it.
For the most part, clockwork-universe storytelling works best in works of finite length. A novel or film can turn this kind of mechanical storytelling into something utterly thrilling. Think of how many great heist stories are primarily boiled down to the role each character plays on the team, or think of how many quest narratives ultimately become about how the party assembled to complete the quest was exactly the right party because its members all filled specific roles that were necessary for the adventure undertaken. The plot of a clockwork-universe story is usually at least somewhat complex, filled with moving parts and ticking time bombs, and when things resolve at the end of one of these stories, there’s often a great sense of elation, particularly if the storyteller can offer up well-drawn characters and unexpected revelations along the way. Things snap into place. Story points that seemed unnecessary make sense. Everything becomes incredibly satisfying.
-- "How Breaking Bad Broke Free of the Clockwork Universe Problem," Todd VanDerWerff, avclub.com
Posted here because this is an easy way of explaining Death Note's structure and characterization to the unwary: every major character has their origin in a very specific plot need and is constructed to be the kind of person who would take the action that the plot requires them to take to move forward. For example, every single thing about Misa was chosen to make her the kind of person who would have the Shinigami Eyes and would be willing to use them to further Light's plans.
The article is interesting in other respects, too.
For the most part, clockwork-universe storytelling works best in works of finite length. A novel or film can turn this kind of mechanical storytelling into something utterly thrilling. Think of how many great heist stories are primarily boiled down to the role each character plays on the team, or think of how many quest narratives ultimately become about how the party assembled to complete the quest was exactly the right party because its members all filled specific roles that were necessary for the adventure undertaken. The plot of a clockwork-universe story is usually at least somewhat complex, filled with moving parts and ticking time bombs, and when things resolve at the end of one of these stories, there’s often a great sense of elation, particularly if the storyteller can offer up well-drawn characters and unexpected revelations along the way. Things snap into place. Story points that seemed unnecessary make sense. Everything becomes incredibly satisfying.
-- "How Breaking Bad Broke Free of the Clockwork Universe Problem," Todd VanDerWerff, avclub.com
Posted here because this is an easy way of explaining Death Note's structure and characterization to the unwary: every major character has their origin in a very specific plot need and is constructed to be the kind of person who would take the action that the plot requires them to take to move forward. For example, every single thing about Misa was chosen to make her the kind of person who would have the Shinigami Eyes and would be willing to use them to further Light's plans.
The article is interesting in other respects, too.