C03P27 – Drama Jar – MOKO Press presents: LeyLines, a Fantasy Adventure Comic by Robin Childs Skip to content

C03P27 – Drama Jar

C03P27 – Drama Jar published on 11 Comments on C03P27 – Drama Jar

As one reader correctly guessed, Dr. Milan is using Ether. I wanted to use a knock-out drug appropriate to the technology of the time, which meant chloroform was out. (Or so I thought – further research showed that it was discovered in 1831, which is plenty early for LL – Whoops!) So I went with ether, because all movies have shown me that such a chemical, placed on a cloth, will instantly knock a person out. Turns out, this is not true. Ether actually doesn’t do much to knock a person out, particularly if that person is filled with adrenaline from the panic of being attacked… Suffocation, on the other hand, is quite effective. Once a person is unconscious, ether DOES help keep them under. With nasty side effects once they finally wake up.

Conclusion? MOVIES LIED TO ME! I know, I was shocked too.

Have you ever assumed something was true because film depicted it a certain way, only to discover later that Hollywood got it wrong?


Children visit this site. Moderate your language accordingly.

…What’s really creepy about this scene is that I totally understand where Dr. Milan is coming from. But I don’t want Tama to get shanked, either. D:

Oh, there are so many things movies lied to me about.. People don’t get knocked out when they get hit on the head. Either nothing happens, they get a brain injury, or they die. But hitting someone in the back of the neck is not a knock-out button.

Also, sex =/= love. Stop saying so, movies. Stop it now.

I cannot express how happy I am to hear you can see Dr. Milan’s perspective. I really can’t blame him for not wanting Tama as the nation’s political and religious leader. Heck, I don’t think Tama would really blame him either. If he wasn’t being smothered, that is.

Hahaha! It is funny that you bring up the knock-out spot…because I confess to having used it in the past, and intention to use it in the future. I think it’s because it is an easy scene-changer. Want to abruptly shift the tone? BAM. Done. Cut, that’s a wrap. Which brings up an interesting topic for a writer:

Is it better to do what is technically correct, or what is best for the story thematically?

Hmmm, artistic liberties vs. sticking to realism? That’s an interesting question. While I try to stay on the side of realism for some things, I understand that for a few things, you kind of HAVE to take artistic liberties on. For instance, I’m fully aware actual military forces do not wear brightly colored, form-fitting armor as they do in my comic, but for the sake of keeping the story fun and accessible, I go with it anyway.

Frankly, it all comes out in the wash as far as I’m concerned.

I think there’s a happy-medium. Get too unrealistic, and it takes a lot of the punch out of something. Make it to steeped in fact, and you may as well be reading a technical report.

I watched the original Die Hard on New Years, and was really impressed with the intensity of the action in that film. Were portions of it unrealistic? Definitely, but most of it was JUST realistic enough for me to put myself in the hero’s place, which made it more personal. It was also dirty. And gooey. Compare that to the CGI fests and over-the-top, yet mysteriously-clean-for-an-action-sequence segments in most films today. Most of them are so patently ridiculous that I know it’s impossible, and as a result there’s no teeth. At no point to I wonder — “How are they going to get out of this green screen set??”

It’s always “what’s better for the story,” but if you can manage to be technically correct, you usually come up with something cooler. Although sometimes it’s just too much work, and that’s okay.

And sometimes we all just want to see someone get bricked in the back of the head.

I remember reading a complaint with the new Star Trek film: The elevator rides were too short. Realistically, in order to travel from one portion of the ship to another, the transportation would be much longer. My big question: How would that help the film? Sure, it would be more “correct,” but at what cost to the story?

Have you ever chosen to fudge the facts in a scene to make it better?

(But they could have used it as an excuse for more Spock/Uhura makeouts!)

Radimir’s universe (from Project Minotaur) is basically all fudged science. I wanted to write about people with special powers, but I wanted it to kind of make sense, so I kept it as real as possible… except where it wasn’t. I used epigenetics as my version of “It’s magic.” Only it was “it’s science but we don’t get it yet.” Epigenetics aren’t magic, but it made a good story.

That’s the problem with a monarchy: the person that doesn’t even WANT the position is forced into it simply by his bloodline, and if he goes out of his way to prove how he is NOT a leader…well, shanky mcshankers shows up.

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