by Drew Baumgartner
This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!
My wife is itinerantly averse to spoilers, to the point that she refuses to watch trailers for movies. It’s an attitude I can sympathize with (many trailers seem more like hyper-condensed edits of the entire film than teasers), but can’t fully understand — how could she possibly know if a movie appeals to her if she doesn’t know anything about it? To me, some foreknowledge of the genre and basic premise of a narrative is essential to my interest in it. Of course, in serialized media — especially ones with particularly high-concept premises — the first chapter might just cover the “basic premise,” effectively spoiling its own plot. But the thing I’ve always resented about “spoiler” talk is the way it privileges plotting (and especially surprise twists in plotting) over every other narrative element. There are real, unique pleasures to be mined from having more perspective than the characters within the narrative, and a well-told story will use those tools as effectively as any narrative twist. Aleš Kot and Tradd Moore demonstrate the value of those tools on both the micro and macro level in The New World 1. Continue reading
