Metafiction Puns

Hey guys, I'm doing a video analisis on Don quijote and one punch man, both works are metafiction and both histories show a brillant but ineffective hero.

Also lately metafiction is very popular we see it in Rick and Morty, Spiderman, Loki, Deadpool, what's the meaning of this?

I know the Bible is metastory because it shows how stories work. I think the presence of the story of stories, that is the story of Jesus, creates metastory, also Jesus knows his story completely. This point brings me to Dune, the protagonist in all books of dune know the past and future, so they also know their story and the ramifications on their actions.

So here is my conclusion, for metastory to exist, the protagonist has to know past and future, that is he has to know his story. We see Quijote being the biggest fan of stories of chivalry, and the same in Saitama from One punch. Both characters know the pattern very well. I'm I interpreting this in a correct way?

During their argument about making a Council of Ricks, Widowermaker Rick told Rick C-137 that their multiverse is contained in a work of fiction, and that the only way not to get cancelled is to be interesting. C-137 Rick called it a bad Sliders parody, but WMR told him that if he was the star of the show, the authors would provide proof eventually.

Sometime later, as he drove home after picking up some Chicken McNuggets with Mulan promo Szechuan Teriyaki Dipping Sauce, a bomb dropped out of a portal and killed C-137's wife and daughter. Rick tried to just mourn and forget the sci-fi nonsense, but the concepts ate at him. He's seen clues throughout his life, but he didn't pick up on them. Finally, he resigned himself to working out the rules of metafiction as the basis of his multiverse's reality. Nihilism was the result, because it's always the result of uninteresting metafiction. Life was meaningless unless he went along with the authors' plans, the very authors who killed his beloved, irreplaceable wife and his wonderful little daughter. What's worse, a fictional character can only ever break into the real universe and kill his authors if their universe is also a fictional universe. The barrier between fiction and reality is only porous in fiction, not in reality. If he had any chance at vengeance, he had to become interesting.

So, Rick became good at Mad Science. He developed the portal gun. He went on adventures, met and fought Story Lord to a standstill once before and refined his theories about metafiction, became best bros with Bird-Person, tracked and killed all the Ricks who knew about the Council of Ricks, and had a huge pseudo-climactic sequence where he ran through a maze killing Ricks. The link to specific other worlds, including the one with his family's killer, was within his reach, but it was broken by a dying Rick. It turns out these decades of his life were only prologue to the real story, but they were as real to him as the adventures with Morty.

In seeking to become interesting, he had only fulfilled the tragic backstory requirement for a long-running tragicomic TV series. So he helped the Council of Ricks create the Citadel of Ricks to sequester the Central Finite Curve from the rest of the multiverse.

He's built narrative detectors which detect narrative, in order to warn him when to be particularly interesting. He had trained his narrative detectors' AI on interdimensional cable so that all possible forms of narrative worth wa

I’m a writer based in the Midwest, wrapping up the edits on my first metafiction novel. Hello to whoever may still be active here! Would love to share

can't think of any good ones. i read asymmetry but didn't enjoy it

I cannot remember everything but I will describe what I can. There was a tower. I was climbing the tower, and I knew I had to reach the top. It may have been real in the dream, or it may have been a video game. Before I reached the top, I was given a choice to keep going or do something else. I made the other choice. Then, I was thrown out. I remembered that this had happened before- I think I had actually dreamed the previous iteration- and I had to reach the top or something terrible would happen, but this was part of the way it defended itself. It changed between iterations, and/or you forgot about it before you found it again, so by the time you were making the choice, you did not recognize it from before. Then I was on the tvtropes articles for the game, or for other (non-real) games, but all the quotes were about the tower. I kept looking through articles, trying to find the tower. There was a two letter abbreviation that I was looking for. The first letter was H, and in often in articles I looked at it stood for heaven.

THEN I WOKE UP AND COULD NOT REMEMBER THE DETAILS!

One odd detail that I can remember- there were snakes involved. I think this was important. This might be evidence that it actually is from my subconscious, because I have long found the concept of the Ouroboros cool. In the iteration I most clearly remember, I chose kindness over reaching the top of the tower and "realized" that potions in Pokemon are actually live snakes (or maybe fish? Eels?) (don't ask how that works, it seemed to make sense to me in the dream), but the translators had changed it. I post this mostly to make sure i do not forget more than I already have.

I understand if you think this post represents me writing some form of metafiction horror, but I will swear any oath you like that I actually dreamed this.

I’m interested in novels that self-consciously hinge on the theme of problems of representation, signs, referentialitynor non-referentiality of signs, and storytelling as a value or a reparatory mechanism. I’m not sure metafiction is right… doesn’t it have a parodic connotation? I don’t think it’s a match. Any suggestions or examples of scholarship?

So I've missed the discussion thread, and having finished the story just now, I feel like I have to put some of my feelings into words or I'm going to go crazy.

Specifically, I'd like to discuss the Big Reveal. The answer to What the Frick is Going On. My take is that there are two ways to interpret the identity of the DM.

1. The DM is Alexander Wales, as in, the breathing, living author that has written the web novel WTC.

Scenes with the DM can be viewed almost as an exercise, or a thought experiment, in which AW calls upon his mental model of juniper the character and converses with him as AW the breathing, living author. Now, what's interesting about it, aside from the level of Meta that is rarely seen in fiction, is that it raises the question of exactly how much of it is true, in the sense that AW consciously and deliberately made an effort to play his part as the DM. There's no way he'd actually written the entire story of Arthur or Other-Side Juniper. I can't imagine there's another 1.6m-words -unpublished tome detailing Arthur's decades of adventures.

But more than that, the DM tells Juniper that he nudges things along, but never forces outcomes. So, if the DM is AW, that would entail a method of writing that revolves around characters, as opposed to plots. A story isn't a simulation where you can hit the play button, let things progress as needed, and then interrupt in key moments. So if the DM's claim of letting things play out naturally is to be taken at face value, we must conclude that AW, mostly never thought in terms of plots or what "needed to happen", but rather in terms of "How would my model of this character react in this scenario". It's similar to discovery writing, where your only role as the author is to know your characters and setting, and if you do it well enough, the plot would evolve naturally as a result.

There's also the matter of audience. The DM mentions that the story was written as a form of therapy for himself. But if DM is really AW, that can't be the only reason, because WTC is a web novel, posted for free to be read by thousands of fans. So either that is also part of therapy (through our discussions, feedback, etc), or, much more likely, the simple desire of an artist to share their work. This, combined with the fact that Juniper, a character who is very quick to test a new hypothesis, hasn't raised the obvious questions (Where do you come from? Is this story published? If it's a story, who has read it?) le

Metafiction is a genre where the very concept of fiction is important to the plot (there’s way better explanations, but that’s my attempt)

I'm looking for fiction where the protagonist/narrator is very obviously a fictionalized version of the author, but the events of the book are fantastical or something that clearly didn't or couldn't have happened to the author irl.

as the title says 0_0

I’m really into stories that do unconventional things. I’m already aware of some of the more popular meta books (i.e. House of Leaves and Atonement), but what are some lesser known ones?

This book genre is imo an untapped vault of potential, especially if the reader learns to surrender to their imagination. It must be well executed, though. To quote Wikipedia's definition: "Metafiction is a form of fiction which emphasizes its own constructedness in a way that continually reminds readers to be aware that they are reading or viewing a fictional work."

It can spiral down into a half-baked anti-climatic experience after a series of fine-looking promises.

Generally, I find metafiction extremely immersive. I think it depends on the reader a lot, though. If they don't have a tint of childlike thinking and a pure drive to believe in the wonders of the work, metafiction simply does not "work". But I think one of the advantages of being a fantasist is having this inner drive by default, even if you've so far believed otherwise.

Anyway, here are some of metafiction's characteristics I have found and/or come up with:

• Breaking the invisible wall between the reader and the text
• The characters are often aware that they are in a story
• Rejecting conventional plot; highly self-reflexive
• Overlapping plot sequences with highly conscious abstractions
• The text and the reader are one self-constructing entity
• The narrator intentionally exposes him or herself as the author
• Blurring the line between what is imaginary and what is real
• Inducing an intimate and penetrating experience for the reader by dissolving "the wall"

https://vm.tiktok.com/ZMeXbX8EF/

Hi.

Has anyone else had a feeling that there's "more" to reading? I always have. I always thought text, when approached properly, can be a source of mystical epiphanies and smites from within. So I decided to clump together a bunch of preconceived notions to form a new "crunch".

Here are the key characteristics of mindventure:

• Breaking the invisible wall between the reader and the text.
• The characters are often aware that they are in a story.
• Rejecting conventional plot; highly self-reflexive.
• Overlapping plot sequences with spiritual, "aware" abstractions.
• The text and the reader are one self-constructing entity.
• The narrator intentionally exposes him or herself as the author.
• Blurring the line between what is imaginary and what is real.
• Inducing an intimate and penetrating experience for the reader.
• Adapted to be voluntarily read in altered consciousness. (induced by compounds, breathwork, or a different approach)

The implications this meta-genre inflicts are tightly bound to the reader-text relationship. I have collected enough data to know it takes a ripe psyche, a tint of childlike thinking, and at least some sort of spiritual awareness. I have heard of amazing results that brought up wonderful experiences. I'm excited how far we can push this.

Ask me anything.

The child sent up in the last moment of The Platform is "the Message," not to the administrators but to us, as the watchers of the movie. That's why the movie is called "The Platform" instead of The Pit or something more referential to the trap the characters find themselves in. the movie is "The Platform" for the "The Message" to us as the viewers.

What is that Message? that there are still children who are literally starving to death in our world, with no hope of getting the right amount of food.

Think about the abrupt turn the movie takes with the introduction of the child. It's mostly adults doing awful things to each other, wrapped up in a heavy-handed classism allegory. Even the two surviving character's quest to send the panna cotta to the Administrators seems faulty and mad. They kill people to protect a dessert. They die for a dessert.

When the child shows up it changes everything. She's completely alone and defenseless. What floor does the food usually run out? After the 50th floor or something? And she's on floor 333. Her mother's been murdered. She's completely hopeless and starving and alone. They give her the panna cotta, which the gave so much to protect, because who gives a fuck about heady ideas when there are kids starving.

The abrupt ending doesn't make sense within the plot of the movie. The movie ends there, without us seeing what happens when she gets to the top floor. The last shot of the movie is of her, the message, speeding upwards. To us. The platform brings the message to us: "Whatever you think about wealth inequality, capitalism or classism, and who's fault it all is, it doesn't matter. There are starving, hopeless children in your world. Help them."

Previous snippet can be found here.

No, these snippets are not related.

SEASON 1 INTERMISSION: REM - BEGIN

"Look, Rem!" Subaru said excitedly, pointing at the charts. "You scored first place in the popularity polls! It was an absolute steamroll! No contest!"

"Subaru-kun..." Rem looked at her crush in surprise. "Do you mean to say... Rem was...?"

"That's right!" Subaru replied, beaming. "You were a hit with the fans! Everyone's talking about you right now! Your performance in the second half in particular attracted a lot of praise... but in general, people seem to like your character a lot! At this point, you're basically a mascot for the show!"

A look of faint surprise appeared on Rem's face. "Rem did not expect that..."

"I know, right?" Subaru said, still smiling. "You've taken the world by storm! Even I can't compete with you right now, and I'm the protagonist! Well," he said, scratching the back of his head, "I guess the protagonist is usually less popular than the main heroine, with these kinds of shows... but still! Even Emilia-tan couldn't outdo you!"

Rem's eyes widened, as she finally realized what "first place" actually implied. "Even Emilia-sama... Rem outperformed even her?"

Subaru beamed proudly, ruffling Rem's hair. "Yep! You're officially the most popular character on the show!"

Rem took a step back, a look of concern on her face. "...I must... I must find her and apologize! She must be feeling terrible about herself right now because Rem did better than her! Rem..."

The blue-haired maid was stopped by Subaru, who put a hand on her shoulder.

"Don't be so hasty," he said. "Emilia-tan doesn't mind... and neither do I, Rem. Why would we? You're an amazing person, after all... can't blame the audience for seeing that. Or are you going to say they misjudged you?"

Rem hesitated, opening and then closing her mouth again.

"That's right," Subaru said, not unkindly. "You can say that Ram is soft on you because you're her little sister, or that I'm kind to you because that's just the way I am... but there's no way you can explain away the reaction of a huge audience like this one, Rem. People liked you. They really, really liked you. And it's not because you're Ram's sister, or my love interest, or anything like that. Ram is less popular than you, so being her sister wouldn't mean anything to the audience. And as for being a love interest... well,

A lot of people here and in the facebook group have asked just what on earth is going on with the fact checking introductions to some of the episodes.

The answer: Bret is inviting us to play detective and be more active participants than we could just reading the story as a paper novel, and the introductions are part of the experience of the story.

Squabbling over details, i.e., “was this character with that character at this restaurant while that song was playing before this party or not?” “I don’t remember being at such-and-such premiere but there’s a picture of me on Page Six that says I was,” and now, “I can’t recall if the janitor was named Hector or Miguel,” has been de rigueur Ellis since The Rules Of Attraction.

He’s approaching these anxious details and misidentifications in a different way because the podcast provides a new, interesting avenue for it. It’s one of his satirical signatures that also contributes to the anxiety and paranoia required for a horror story.

I like listening to current narrator Bret fret and equivocate and then hear innocent high school narrator Bret cruise, or stumble, or zombie walk through life. That contrast builds the psychodrama.

An obvious logistical reason for the intros: Having HS Bret relay information that current Bret learns +30 years later (so the novel could flow as a single narrative) wouldn’t work, wouldn’t make any sense, and would kill the conflicting tones he’s creating.

Sure, I guess he could write a traditional Catcher In The Rye or Gatsby-esque, ‘older narrator looking back on my life’ story, but what’s the fun in just reading aloud on a podcast when he can utilize the podcast’s direct connection to the audience as a device?

There’s a technical strategy at play here that I’m hoping will come together in some thrilling way. The indulgent, creative narcissism of dual narrator Brets is reminiscent of Lunar Park. We’ve been here before and it was brilliant.

All in all, the new format is a fun and fresh answer to what Bret considers The Death Of The Novel. It’s an innovative combination of podcasting and old fashioned Dickensian serial releases. Experiencing the serialization of a novel for the first time (not counting comic books), I can see how Dickens’ method was so effective at generating interest and demand.

Another Ellis signature taking shape is the unreliable narrator. The story seems to be increasingly leaning towards high school Bret as an unreliable narrator, not due to the alco

This thread is devoted to a single topic, which changes every week, allowing for more focused discussion. We will either rotate through a previous discussion topic or establish special topics for discussion to match the occasion. If you have a topic you'd like to suggest for a future Thematic discussion, please modmail us!

Today's topic is metafiction in videogames: this refers to games that deliberately remind the player that they are playing a game. What games employ this and which ones did it well? Did a game fall short in this aspect? What do you wish to see in a metafictional narrative?

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Was recently studying about metafiction in adaptation theories.

My favorite book is Infinite Jest by David Foster Wallace. I recently finished The Savage Detectives by Roberto Bolano, and started At Swim-Two-Birds by Flann O’Brien.

Anything similar to those, or John Barth, Jorge Borges, Don Delillo would be great.

Hey guys, I'm doing a video analisis on Don quijote and one punch man, both works are metafiction and both histories show a brillant but ineffective hero.

Also lately metafiction is very popular we see it in Rick and Morty, Spiderman, Loki, Deadpool, what's the meaning of this?

I know the Bible is metastory because it shows how stories work. I think the presence of the story of stories, that is the story of Jesus, creates metastory, also Jesus knows his story completely. This point brings me to Dune, the protagonist in all books of dune know the past and future, so they also know their story and the ramifications on their actions.

So here is my conclusion, for metastory to exist, the protagonist has to know past and future, that is he has to know his story. We see Quijote being the biggest fan of stories of chivalry, and the same in Saitama from One punch. Both characters know the pattern very well. I'm I interpreting this in a correct way?

Hey guys, I'm doing a video analisis on Don quijote and one punch man, both works are metafiction and both histories show a brillant but ineffective hero.

The Dostoievsky characters tend to know the pattern of reality, like when in the "Demons" Pyotr and kirillov have the following conversation:

Pyotr: And I know too that you didn't eat the idea, but the idea has eaten you, so you won’t put it off.
Kirillov: What? The idea has eaten me?
P: Yes.
K: And not I ate the idea? That’s good. You have some small intelligence.

Or when in Liza's monologue to Stavrogin she says: Pyotr Stepanovitch skipped up to me and explained it all to me at once. He revealed to me that you were dominated by a ‘great idea,’ before which he and I were as nothing, but yet that I was a stumbling-block in your path.

This knowledge of the pattern creates in my opinion the metafiction. I will elaborate. .

I know the Bible is metastory because it shows how stories work. I think the presence of the story of stories, that is the story of Jesus, creates metastory, also Jesus knows his story completely. This point brings me to Dune, the protagonist in all books of dune know the past and future, so they also know their story and the ramifications on their actions.

So here is my conclusion, for metastory to exist, the protagonist has to know past and future, that is he has to know his story. We see Quijote being the biggest fan of stories of chivalry, and the same in Saitama from One punch. Both characters know the pattern very well. I'm I interpreting this in a correct way?

I’m really into stories that do unconventional things. I’m already aware of some of the more popular meta books (i.e. House of Leaves and Atonement), but what are some lesser known ones?

https://vm.tiktok.com/ZMeXbQRua/ https://vm.tiktok.com/ZMeXbX8EF/