~NOTE~
After finishing "Six Degrees of Separation", while working simultaneously on this saga, I honestly had doubts and some periods of writer's block. Not just the problem of inspiration and maintaining the balance of realism and surrealism, but to also give a language of visuals and modes of storytelling for each arc and for that side story I've done in connection to this. You can call this author's note a mini-essay, or a summary…
For LES MUSICIENS, I imagined this to be an oratorio, telling a story with morality in it, despite its ambiguity and dubious natures on the characters, both canon from Evangelion and Danny Phantom, but also for the OC's I invented. I also had some confusion on how to imagine this if it were an animated show, so I opted to what was shown in Alien Force and Ultimate Alien of the Ben 10 franchise. Because I felt it was a good cross between the two extremes of what Butch Hartman had done, and what Gainax boldly experimented with. In addition to this, by which all of you readers already know by now, using themes from certain films that might not work at first glace, and in the beginning, I was scared to even try this. But I did it and here am I, arc two…an arc I might have to briefly explain.
Arc Two is a completely different take on what I tried in Arc One, for starters, it WILL NOT be split into two or three different parts for storytelling. No, it will be a comprehensive story, 12 to 14 chapters in length. And also, some collaborative efforts with writers on this site. Anyway, for the first three chapters, maybe four or six, its my salute to the themes I've explored in Arc One and going forth with new themes to work with for not only Arc Two, but also for the final arc in the near future: Choice, Love, Rivalry, Tension, Trust, Understanding, Catharsis, and the Future.
For "Six Degrees of Separation", in the beginning I only did it to expand on the character I briefly mentioned in my older story Ben 10 story, "Three Days". Ernesto Clarkson Tavares only was to provide some color, but over time, he came to have more depth, as if he pushed me find more things about him and how his relationship towards his cousin Wilfredo Pereira da Silva was important and beneficial to him. For the story, I wanted to expand on what I've done for LES MUSICIENS 2005 or even from FOUR WALLS, but as I progressed, I found out the previous styles of writing wasn't going to work well here. So I did some movie watching to get some ideas, so I got hooked on what was explored in the film INCEPTION, but also a bit from an earlier film that dealt with dream and memories, Eternal Sunshine of the Spotless Mind. From there, Ernesto became a character of his own, instead of an extension of Wilfredo. He became a smart aleck, aggressive, while maintaining his form of charm, insight and sense of self outside of his abilities.
Also in a way, it shows how the differences have formed between Ben and his friends, in comparison to Danny, Shinji, or even Wilfredo along with their friends since they were fifteen. Finding themselves to be pseudo-mentors to the new generation of heroes, on differing sides of the spectrum of growing up. This arc will be challenging on the grounds of not only adding Ben 10 into the picture, or even the emotional growth for the characters, but also the sense of time and place. Although I've explored it already, with distance forming and testing the friendships and relationships, but in here, it's a bit more accelerated. Not really to rush things, but now to really focus on the important events for the orchestra and their friends and reluctant allies over the years. This new method of writing will reach its ultimate climax in the final arc, where the three groups will reach a moment of understanding and respect.
And before I forget, when I first started arc one, I compared it to a concerto of sorts, in order to move the story along since its inception. Now, looking back on it, I would call the first arc as Act I, while arc two is Act II, if not in an operatic sense, but in an oratorio style. Smaller in scale, but nonetheless grand in it's own right.
Another thing to add, there will be some collaborative effort with another writer on this site, A.W. LeMonte. You will get to see a brilliant combination of her great use of imaginative sensibility with my use of realism. A huge chapter split into two, taking place in Shanghai, China and she introduces the counterpart to my LES MUSICIENS, her prestigious Aulamerta Academy of Music. This was prepared months in advance, as well as two more chapters down the line, which were a series of ideas we proposed, discussed, worked on and edited. So this endeavor will not be as dark and broodingly visceral as the rest of the story, but I felt that perhaps, I can deviate from reality for a bit and try something that's outside of my expertise.
However, I cannot forget the advice, help and constant supporter of this saga like A.W. LeMonte. Yes, I'm talking about HolyDragoon, the one reviewer that has been there when this saga was first posted. Giving his thoughts on how this story might play out. Like in the final chapter of Arc One, his input will be shown in Arc Two, especially in the first three chapters. Albeit subtle compared with the no holds bar imaginative roller coaster with LeMonte, but nonetheless important. Again, I would not be in this point of the saga without him. To him, I would like to say Obrigado and to LeMonte, Arigato.
In addition, I'm going to continue my experiments with couplings in this saga. Not just the musicians in the orchestra, but also a couple with ties to both Aulamerta Academy and LES MUSICIENS. The new couple is Liam Corrigan and Yasmin Moradi. Liam Corrigan has a background with Aulamerta Academy, as the head of the academy's journalist department. And Yasmin Moradi, is for most already know at this point is the daughter to Mohammad Moradi, the founder of his orchestra. And I will also explore their motivations in their line of work, as well as their aspirations for the future. So their romance is grounded, as well as touchingly sweet.
There will be also a new direction for Ernesto Clarkson Tavares. I will further expand on his characterization in this arc, to make him distinct from his cousin and the others via his abilities, his inquisitive nature and his own motivations from self-improvement. Making his actions darker, more mysterious and overall, contrary to how his new friends in the Plumbers handle typical law enforcement and heroics. In line with his storyline in the arc is further investigations to the GBCC and their links with the paramilitary group, the Forever Knights as well as a more shadowy agency with ties to the knights, but in an more adversarial role.
There is one theme of music that will spring up continuously in this arc. The theme music from the film, CLOUD ATLAS, but more specifically, the music shown on the film's website. I don't know why I decided to use it, truthfully, but I guess, as for those who have actually seen the film, it is epic.
So, with the author's note out of the way, I am proud to present the beginning of this notoriously ambitious, yet imaginative arc.
~LM~