The Category X Spot Story Address

Section 1. The Instability of Four:

A. This is a phenomenon that can be roughly demonstrated with a relational spectrum.

Equidistant dots will be used to most simply represent each thing on the relational spectrum.

If one attempts to chart equidistant dots --

1 dot, singularity (.) -> 2 dots, duality (. .) then -> 3 (. . .) -> and lastly 4 (. . . .), one may observe that the 4th dynamic is the first to lose something.

Adding a fourth dot (whether to the left or right) loses a dot relation, the middle, that 3 established.

For this example, what the relational dynamic was, "Bad-to-Good", "Social-to-Antisocial", etc. was irrelevant.

However, common language provides examples of specific relations, to test the concept.

Using "Bad-to-Good", one can add words that mean "Very Good" and "Very Bad".

A "Terrible-Bad-Good-Terrific" spectrum does create a Dynamic of Four.

However, it ignores the middle dot parallel, such as "Okay". A Three Dynamic, "Bad-Okay-Good" would have already established a middle relation.

Relations seemingly tend to "Decay" to 3 or "Progress" towards 5.

I have yet to observe a Dynamic of Four that is "complete" (doesn't ignore a pre-established middle) in existence.

Potential examples, like the "Cardinal Directions" (North, East, South, West) only may seem like a complete Four, if one again ignores the middle dot parallel.

The Cardinal Directions only begin based on a Center to define them from.

Whether it is from the Earth's center or one's own starting location, navigation becomes immensely more valuable with a Dynamic of Five, by accounting for "Center".

B. Story Example:

Unsurprisingly, "Harry Potter" (the most successful book series) has a fantastic use of the Instability of Four.

"Harry-Ron-Hermione-Ginny", with Ginny as the unstable fourth, who floats in and out of the story, is not the example.

Though, that one adds supporting evidence for other observations about the Instability of 4.

The true Dynamic of Four is instead, "Harry- Dumbledore-Snape-Voldemort", with the basic relations being "protagonism to antagonism".

For a very basic summary: As the series is decaying towards an end, Dumbledore is confirmed to not be as "good" as Harry, after Harry loses him.

Snape is then shown to not be as "bad" as Voldemort.

Dumbledore is shown to be more correct and understanding about Snape than Harry was, which matches his closer relation to Snape on the spectrum. And Harry loses Snape.

It should become evident to anyone familiar with the series that this Dynamic of Four is what solidified Snape's reception as a character (particularly in the movies).

It turned out that he was always the stable Third for Harry.

And the Unstable Fourth, that needed to decay in the story, Voldemort, essentially took him and the stable Second away.

C. Conclusion: The Instability of Four is evidenced to be a very universally true thing, that therefore shapes languages and stories within it.

Plenty could be said about stories that utilize it more strongly towards the end.

There's LOTR's "Sam-Frodo-Gollum-Sauron (via the One Ring)" climax.

And there are others that more strongly use the Instability of Four early, like Naruto's "Naruto-Kakashi-Sakura-Sasuke" or the Abrahamic Religions' "YHWH-Adam-Eve-Serpent".

It may be impossible for any writer's story to achieve its greatest potential success, by attempting to defy the Dynamic of Four, in the eyes of people, who themselves are shaped by it.

Section 2. Establishing Objective Story Categories

In the attempt to describe stories objectively, I will use a Positive-Neutral-Negative spectrum.

I will use the word "Positive" to mean that I believe the story mostly shows support for a thing.

I will use the word "Negative" for when a story seems to mostly show evidence against a thing.

And I will use the word Neutral", for when a story seems to give a mix of supporting evidence for and against a thing.

I will give an example of how I use this system.

Story Tension - ASOIAF's book structure takes a positive stance regarding the need for living characters.

A large cast of characters is needed to provide POVs for each chapter and fill political and geographical roles.

Yet the story also takes a negative stance regarding its need for specific characters within that cast.

With its rate of character deaths, including ones that have been POVs, it provides significant evidence for and against its characters living.

So, "Character Deaths" is the topic here. But in general, defining a story's positive and negative stances regarding the same topic may be a way to objectively define what a story's tension points are.

Furthermore, if one could answer what a story's stance is on each narrative topic, then one may be able to objectively define story styles and genres.

Section 3. Story Relational Diagrams

If one can find the most objective categories to apply to stories, then one can build a relational diagram between all stories.

With it, one could see where the most successful stories would fit on that diagram.

And because every story hasn't been made, one may find that there are spots on the diagram that seem to be missing or under-fulfilled.

A. The Category X Spot: I started a basic relational diagram for the Fantasy and Sci-Fi Genres, to affirm that two of my series did fulfill two spots on it.

ASOIAF is very successful and unique in the general Fantasy genre. So, as one could predict, it did take a prime spot on part of the diagram.

And on that diagram, there is a certain story category. I will call it "Category X".

Both of my series' closest match is the same spot in Category X that is ASOIAF's closest match. And that observation is part of why I am making this offer to aid ASOIAF.

B. Category X Spot Analysis: One of my most significant conclusions centered on Martin's championing of the "human heart in conflict with itself" theme.

First, the "Heart" theme could only be secondary in a story, as a byproduct of something more fundamental.

Evidence for this is simply that the statement "The human heart in conflict with itself" doesn't say what that conflict is.

Nor does it prioritize any sides of the unspecified conflict (Positive, Neutral, and/or Negative), to give the story clear directions.

Secondly, I have concluded that there is one word that must be in the primary thematic statement of the story that achieves the greatest success with the Category X spot.

I myself already identified this kind of theme in my developing fantasy-type series, but in the positive story direction.

The series "Dune" is extra confirmation. Dune has already shown a template for that primary thematic statement, within its earliest and most successful books.

Ultimately, I cannot truly know whether or not Martin has a central theme that is story-weighted above the "Heart" theme.

But I do know that the theme I evaluated to be the most ideal is already well-supported by ASOIAF's story. And that served as reaffirming evidence that I have properly categorized ASOIAF.

But to be clear, I am not asserting that the Category X Spot would 100% fit Martin's own story vision, in the end.

The spots in the Story Relational Diagrams are just guideposts. I only say that ASOIAF is closest to that one.

C. For Those Who Appreciate My Offer

Regardless of whether I was to ever work on ASOIAF, there will be other series that fit near the Category X Spot.

And I myself intend to do some work on more Category X Spot series at some point in the future.

So, that is a main reason I have made this document public.

If any who read this appreciate what I have offered, then I can be repaid by them helping anyone who may have a developing series like the Category X Spot come to my attention.

Whether in the distant or near future, if someone or some group shows strong writing skills, has developed their series long enough to be sure of its direction, and has interest in collaboration, then a reader of this can remember to help them along.

And the following analysis in this document may help one to get at least some sense for what the Category X Spot is.

Section 4. Story Analysis Part 1

Because my two series in development have significant positive and negative relations to ASOIAF, within their genres, I have seen significant value in analysis between them.

Concepts in the neutral range have value too, of course.

But if only two things were focused on about something, then the most valuable two things to know may be "what is most similar (positive)" to it and "what is "most opposite (negative)" to it.

For ASOIAF analysis I will predominantly look through the lense of my fantasy-type series.

Relevant parts of a synopsis will be shown below. Less relevant parts in-between will be skipped. Ellipses will indicate the skips.

Synopsis Excerpts

"It is still, the Year of Winter; not yet, calls the Year of Spring."

"In such times...when..."

"...it is natural that the unique stories become more often told than they are made."

"Still, affixed in one particular mind are common stories, such as that of the “Twin Rings”, one of the 7 Gifts Well-Known."

“The Ring of Time: conflicted over, yet ultimately bound to the Ring of Space, both unable to be destroyed or changed, as a result.

Presently possessing that very same Ring of Space, it is true that this particular individual is fated by it to become concerned with a certain Place;

And a bearer of the Ring of Time would be fated to become concerned with a certain Time, leading to an unpredictable meeting between the two at the same place and time.

However, thoughts of such an encounter are not the most enduring within their mind..."

"...For they are one who knows of a foe who is boundless, and who becomes greater in threat or in aid to those who become more familiar with them."

"...But alas, they treat their mind away from such thoughts -- momentarily at least.

As, once again, the nature of their struggles, and many before them, has been a common story.

Calling them, has been a desire, that others have

also been hoping for. "

"...the group set to make the journey..."

"...could become more versed in the uses of things such as: Awakening Words, Knowing Doors, Dream Taming, Spellscapes, and quite more."

"But for now, they must use and learn what they can, whilst avoiding..."

"...Most uncertainly, there is the Troubling Peace*..."

[*Troubling Peace: A conflict that many people within a region expected to happen between a group of lands. Yet it still has not occurred, despite multiple apparent reasons for it. An unsettling silence, from the common outside perspective.]

End of Synopsis Excerpts

LOTR and Harry Potter are horizontal neighbors to my series' spot, at least when the story relational diagram is based on just 3 spots per category.

LOTR and Harry Potter are at the top in success within the general fantasy genre, evidencing their value for study.

And I know that LOTR is a very significant inspiration and subversion point for ASOIAF's creator Martin.

ASOIAF is a vertical neighbor to my series.

And I will now use all four series to show how a pattern of "most similar" and "most opposite" emerges between my series and ASOIAF, because of the story relations.

A. Magic Commonality Example (1/4):

Parts of my series' synopsis showed a positive stance on Magic.

1. Magic in The World: "Spellscapes" were mentioned. One seen in the first half of the series is a meadow, which has the law of "If Sound, then Light".

The brustle of a living thing walking across the grass, or someone saying certain words out loud, can cause different patterns of illumination (night or day).

And that may aid their own vision or promote their detection, as examples.

This is an example of Magic being further out into the common world, than in HP.

2. Magic Familiarity: In the series, "Knowing Doors" are introduced as things that only open for those who already know what's inside.

Though, that basic idea is introduced mainly to the viewer.

The interest of most of the characters is to know further behind the "Knowing Door" of the term itself. The characters are already quite familiar with their world.

So, when characters show a similar interest in the series' definition of magic as the target audience, the series must often use the interest of "seeking deeper thought and understanding" for the character's enthusiasm.

And so, the story must have what is beyond the surface available to be experienced for each such thing.

That is a minor, but consistent, example of the kind of pattern structures throughout a story that are necessary to best fit the difference between it and other types of stories.

And it is my evaluation that an ASOIAF type story would achieve greatest success by using the inverse of that aforementioned structure description that was put in quotations.

I will not write the exact way that I would summarize that structure, in part because that could be a spoiler about the ideal central theme I referred to in Section 2.

And, as well, this document is not intended to give specific ideas and speculations on ASOIAF, but rather to show successful structures for producing concepts for a Category X Spot/ASOIAF type story.

Back to the topic of Magic Commonality, out of all 3 candidates, my series is most opposite to ASOIAF.

So, I will begin the tally at 0 Most Similar and 1 Most Opposite.

B. Realism and Consequences (2/4):

The focus of showing various kinds of "realisms", through a fantasy inclusive setting, is definitely a direction that ASOIAF goes toward.

1. Realism Example: My series is primarily based on a system I've created to

formulate and verify true statements about anything.

The simplified Dynamic of Four example comes from it.

Concepts like the series' definition of magic, and the consequences of it, relate to real things, such as the common spatial dimensions of Height, Length, and Width.

Which side is which for something, from Outer Space to even on Earth, isn't universally defined.

And my series is able to base its magic on the fundamental dimensions that apply to everything, because of this system of greatest value.

As well, it was stunning to see a correlation between the 2 fundamental dimensions and what LOTR and HP did for their story structures.

This is a topic that is much larger in scope than the stories themselves.

But that is also why the indirect benefit of a bit of extra insight into stories like mine, ASOIAF, etc. was able to be observed from the study of it.

2. Consequences:

The "If __, Then __" part of Spellscapes

does quite summarize what I mean by consequences. Results of all kinds, not just negative. All are needed in stories, of course.

In my own, the Year of Winter is said to be a season of sacrifice, that being what it is for.

This statement from a character is able to reference that a minority of living things within the cycle of life need conditions that are not ideal for the majority of life, like themselves.

And it is able to reference the consequence of the series' definition of Magic, along with just the simple notion of "longer sacrifice time in winter for the longer benefits of the other seasonal years".

3. Hierarchies To Centralize Consequences:

Part 1 - Mentioned in the synopsis were the "7 Gifts Well-Known".

The original 7 Gifts story in the series, beginning with Space and Time, is about things that anyone could be grateful for.

Representations of these weren't primarily created, by the "foe who is boundless", to be the most potent magic-related forms.

What are the most potent, at any given time, depends on whatever other options rise and fall, as the 7 endure in existence.

The 7, instead, fulfill a niche in the series for their ability to control consequences, to help avoid or bring them, as desired.

This allows for more potent but also more consequential magic to exist in the series, without them stepping on the role of the 7 Gifts Well-Known in the story.

The topic here is the magic part of the power dynamics within the series.

But it is a general example of a structure that allows for a greater quantity of a kind of story element to be added to the story, without the additions becoming redundant.

Part 2 - Martin has spoken of the minutiae of things that seem unexplored in LOTR, questioning how Aragorn's rulership would be like, and what dealing with the remaining Orcs would be like.

That fits with a desire for realism, an interest in exploring the consequences of each thing in a story more than other people may.

Exploration of consequences can contribute to a series being able to add more niches for more story elements, and therefore become longer.

It contributes to my series projecting to be longer than Harry Potter, even though I didn't want it to be (in the interest of being able to work on other things too).

It is its own force. Realism focus can help this type of story grow. But whereas reality will perpetually continue because of the consequence of each "if" leading to a "then", each story must end somewhere and in some way.

And strong enough central dynamics in the series can help. Centralization will be a topic in a later section.

I now add 1 Most Similar to the tally, for a count of 1 Most Similar and 1 Most Opposite to ASOIAF.

C. Fantasy and Characterization (3/4):

My series utilizes more fantasy type elements for characterization than LOTR and Harry Potter.

And so, my series would be the most opposite to ASOIAF in that aspect.

1. The first example is that it has the concept of "Elder Races, Middle Races, and Younger Races".

At least, that is one common categorization, in the time direction, that people use.

2. The second example is a smaller scale one, regarding people who have a certain status. There are some people whose blood comes together.

Any blood drawn outside of their body could be observed to show at least some small amount of self-attraction.

3. Last is a personal characterization example.

Objectively, in every person's life there will be another person or thing that will cause the greatest positive impact on that person's life.

Who or what has made the biggest positive impact in one's life can be sometimes extremely difficult to determine, and sometimes difficult to even acknowledge.

And the potential opportunities to have those kinds of ideal relationships are surely often missed in the world.

The person or thing that has the most positive impact on another has its name.

But for defining two parts of a relationship that both most positively contribute to the other's existence, a current common name that people in the story have for that is "Twin Flames".

With the family of Relational Spells that the Twin Flame Spells belong to, some people are able to find the best, or often just better, living or non-living matches for someone or something (limitations due to consequences).

So, if these kinds of fantasy-type characterization structures are successfully explored the most in my series, then the tally would be 1 Most Similar and 2 Most Opposite to ASOIAF.

D. Story Tone (4/4)

Lastly, my series is the least positive overall, just slightly "greyer" toned, compared to its 2 story-relational neighbors.

1. For one bit of supporting evidence, I'll start by referencing the "Twin Rings" from the synopsis. They are an example of "Fate Objects" in the series.

These are defined as such, in part, because the fated thing has happened with them before.

Fate Objects all have their descriptions, along with their names.

And a description of another Fate Object can be summarized as "The Dress Fated to Be Worn on One's Most Truthful Day".

[Note: They are threads that are currently woven into attire that is traditionally feminine but have not always been. So, they are not gender specific.]

The Dress Fated is an example of the kind of concept that is slightly less positive in story tone, compared to most concepts seen in LOTR and HP.

That is because the truth is not necessarily supportive of oneself or anything.

There would seem to be plenty of people, older and younger, who would be wary of interacting with something that provided the function of a truth-fated object.

Since, by the nature of them coming into interaction with it, it would mean that they and others would not just be given indicators of any positive truths most related to them, but also any negative truths, in a more concentrated dose than what people normally have been adapted to handle.

All said, concepts like The Dress Fated, the Foe's relation to the 7 Gifts, and the Main Group being somewhat outcasts in their ideology, seem to contribute to a bit of a greyer tone than LOTR's and HP's main series.

The tally ends at 2 Most Similar vs. 2 Most Opposite.

E. Summary: Though there are more, I, of course, don't know how long this trend of most opposite and most similar could continue for each possible story topic.

But this exercise affirmed to me that it is a significant trend, as predicted.

Here I further verified that a successful series with structure like mine, rather than LOTR, would generally be somewhat more valuable for a Category X Spot story's inspiration.

Though, of course, inspiration for positive, neutral, and negative story concepts can come from any source, and contribute to successful stories.

Ultimately, the exercise in this section showed me more precisely how the work I'm doing on my series indirectly increases my ability to understand any Category X Spot/ASOIAF type story, and help one without too much time commitment.

In the next section, I will state some more of my conclusions about challenges I see with the actual A Song of Ice and Fire story.

Though, as stated before, I will not provide any specific ideas for ASOIAF nor delve into any speculations on Martin's intents.

I will just reference a few of the macro-structural observations I've made about ASOIAF.

Section 5. Some Challenges Seen in ASOIAF

A. Character Cast: I have seen Martin speak of the "Meereenese Knot", of rewrites, and of re-sequencings of chapters.

But I have not seen anything from him that addresses what seems to be an "elephant-in-the-room", from the 1st half of the story, that seems to be causing some issues.

I addressed this connection challenge from the beginning of both of my stories.

Neither of the ways I did it are required for the Category X spot type story to function well.

Who and what they are is important. But what are needed are just general story connectors that are numerous enough and/or significant enough to bridge each part of the story.

B. Story Pacing (Time Progression):

Evidence for this is that Martin has mentioned that he had conflicted plans for a 5-year time-skip in ASOIAF.

Seemingly, the ideal version of this type of story would have smaller time progressions instead.

That could keep the momentum of the established characters and plots, whilst interspersing time for developmental characters and plots.

That could certainly be challenging.

But for the time progression approach with an ASOIAF type story, certain POVs would be built to carry more time progression than others.

External and internal challenges would be weighted to speed characters up or slow characters down.

The challenges that were specifically designed for time stretching would most frequently occur earlier in the series.

Though mainly after book 1, probably, since inciting incidences for multi-book stories tend to speed up characters, and don’t tend to stretch time for them. It certainly depends on the story.

But as any story progresses, and more characters are introduced, with their own story-momentum, it certainly could become suboptimal to have longer time progressions or outright skips.

And since there are many characters now in ASOIAF, it would be very late to expect to make a huge impact on this aspect.

But I'll have my similar experience with managing time progression in my story, which could end up yielding some valuable insights for an ASOIAF type story.

Example 1/2: I will focus on two related macro scale examples.

The main story of my fantasy-type series begins during fading winter. So, they have already come out of deep winter.

Each seasonal year arriving naturally means that some areas will become more or less traversable.

In the case of winter years, there are some ice crossings that can only exist during a winter year.

And there would be a minority of those areas that only freeze enough during deep winter.

So, characters can be put in a situation in which they have to act when the time may not be ideal, or wait for a few years, or find another path to reach their intended destination.

In ASOIAF, Martin does use a slowdown option, with snow against Stannis, en route to a battle of some intended consequence.

So, that is a good minor sign that the two stories will likely be exploring some of the same kinds of concepts and solutions, in the pursuit of achieving strong story pacing control in large Category X spot type stories.

Example 2/2: The "Troubling Peace", mentioned in the synopsis, furthers this macro scale topic.

When conditions are harsh, as deep winter can be for many areas, it can therefore be somewhat less advantageous to act upon a perceived slight or threat (as an individual or collective).

So, one of the multiple reasons it is seen as troubling relates to the fact that the year of spring often brings better conditions for most living things.

Yet such a time often looked forward to, by many in the region, may be marred by the revelation that there were indeed tensions that hadn't been able to completely bubble to the surface in the cold of the winter year.

Due to the Troubling Peace, some characters may see opportunities, and decisions overall may become nudged towards a direction (ex. The Main Group).

A rumor of a royal pregnancy being related to the delay of the Troubling Peace conflict could stretch the timetable perception for this event, in the minds of some characters.

A counter rumor, not heard by all, that the subtle amount of extra supplies, namely food, being imported by one of the lands, was "as if they were feeding for or hiding a pregnancy", can do the opposite for some characters.

A character could be led by their notion that, if the rumored investigations were true, then a large land stocking up on supplies seems more likely to be done before a year of winter, not coming out of one.

Another character can be hopeful and stay in the area, or be sent from afar for

mediation, or be uncaring about the larger world and find internal or external conflict with that stance, etc.

To conclude, the hypotheticals above were listed because, in my estimation, a "Macro-to-Micro" lense focus would likely result in the best story pace control for an ASOIAF type story.

It is just a basic "order of operations" ideology that can set the foundation for each thing under it, like POVs and Inner conflicts of the micro scale.

Since multi-book Category X spot style stories (mouthful) will likely progress towards a world scale that is, at least, somewhat bigger than most of its neighboring story category types, a Macro-to-Micro lense can be quite fitting for them.

Lastly, if the reason for ASOIAF's climate is indeed supernatural, and the supernatural is changing, then that at least gives justification for some degree of late world change concepts, that could connect its story elements, macro to micro.

C. Daenerys and Company

I have observed a significant issue regarding Daenerys. Though, when I say, "regarding Daenerys", I mean the following.

An analogy is that, to spell a word, such as "Able", your first letter starts the chain of combinations that are needed with other letters.

You need "B", "L", and "E" story elements fulfilling their roles, to make the "A" character functional and shine in the story.

Even without 100% knowing Martin's goals, I evaluated her to most likely be mismatched, even if not "misspelled", with the concept of her character.

What I saw with Daenerys, does relate somewhat to the worldbuilding issues.

To reference the "Meereenese Knot" again, Martin himself aptly naming a writing challenge after a world location is some small supporting evidence that my conclusion has some basis.

And it was noteworthy to me that Daenerys, Arya, and Sansa are all (to varying degrees) female developmental type characters, evidently still so during Book 6, in a supposed 7 book series.

In part due to this, I do not find it to be fully coincidental that, once book material ran out, the "Game of Thrones" TV show's issues presented most strongly in things related to these 3 characters.

Daenerys' character progression, Arya's hero moment, and the rulership determinations, which Sansa was part of.

Those 3 do relate to the main conflicts that Martin himself once wrote about in his early outline.

Quotations from the Outline:

1. "...Lannister and Stark...Seven Kingdoms as the ultimate prize" (Sansa* relation)

2. "...led by Daenerys...Dothraki Invasion"

3. "...half-forgotten demons out of legend, the inhuman..." (Arya* relation)

[*Note: I am not assuming the TV Show's conflict relations and executions for these characters, especially Arya, are the same as Martin's intent.

I only assume that the TV Show's choices were based on a perceived story direction or lack of story direction with these characters, from Martin and ASOIAF.

Because it is assumption, I do not weigh this noticed pattern very significantly.

It is only certain that, at least, these 3 conflicts did end up existing in ASOIAF, and must be filled in with some characters.]

Furthermore, compared to the rest of the cast, all 3 of them are also above average in being "heart in conflict" type characters.

And as I asserted before, I believe the heart theme could only be a byproduct of the central theme in the most successful version of a Category X spot story, like ASOIAF.

So, if there's not a central theme with those 3 characters, then I would certainly evaluate them as suboptimal factors in the story.

Lastly, there are 3 geographically closest areas of conflict - Winterfell (Stark's home conflict), King's Landing (Seven Kingdoms conflict), and the Area Around the Wall (Others conflict).

Essos, and therefore Daenerys, would be fourth.

Fourth, at least, if the relational dynamic was based on geographical proximity amongst the (seemingly) top 4 most important areas in the series.

That's the most important dynamic of four that I can see right now in the series.

Whichever, and however many, characters fit into those geographical dynamics, and how those conflicts are sequenced, would be able to make the difference between whether I would evaluate Daenerys and Company to be misspelled or mismatched.

And that's the complexity of ASOIAF and story writing for you.

Section 6. Story Analysis Part 2

I will now show parts of one of my other future series' synopsis, to set up the last two sections.

Eternity (Book 1) Synopsis Excerpts

"In the search for the most ideal place to live in the universe, Isaac Miller and the near million members of their species stumble across a multi-galactic civilization of people, who had once sought the same.

Although their distance in light-years from it still outnumbers their remaining population, their long, and multi-generational, journey was finally noticed."

"....Beta's title, translated from its 3-dimensional word, essentially means "Convergent"."

"If...then they would be welcomed as the 13th Sapien House.

"Despite her capability of being present...There is mutual incompatibility between SLR and Original Life, as she calls them."

"Within, there are habitable areas around a developing Stem Planet, one of numerous planet types within the..."

"Though, it is without infrastructure for Celestial Seasons..."

"While discussing Quantum Transportation as a potential aid in connecting with any survivors of their species one day..."

"Regarding their species, Isaac encounters speculation from some of his oversees, who wonder if this ___ could have been, or could become, an enemy to their original population.

Isaac disregards it, as he believes they would then have the chance to be mediators, and not merely hostages or traitors.

However, Isaac sees another potential source of division amongst them..."

"...a growing silence about the original mission to signal out into space, once an ideal galaxy was identified for their kind.

Such a decision to not carry out the promise..."

"...avoid conflict amongst loyalists and...."

"...All Houses continuously provide some information to the "Standard Model of Life", for the benefits of its predictive and prescriptive prowess."

"...one of many who foresee the prospect of a new Sapien House leading to the building of some new relationships, and the weakening of some old ones, within the Galaxies"

"...mutually genetic-bound contract..."

[Note on "Sapien Houses": "House" is a proposed taxonomic term above "Domain", which is above the better-known term "Species".

It is a term for all the unique life, and non-life, of a planetary or greater civilization.

So, it differs from the medieval term "House".]

End of Synopsis Excerpts

Section 7. Protagonist and Antagonist Structure

Like my fantasy-type series, Eternity is also positive in story tone.

But what is most notable for this section is that they contrast in regard to the balance of their protagonist and antagonist structures.

A. Pro Centralization Balance:

The fantasy-type series synopsis excerpts mentioned the "foe who is boundless, and who becomes greater in threat, or in aid, to those who become more familiar with them."

The quote about them evidences a centralized Main Protagonist vs Main Antagonist structure.

These kinds of stories can be said to centralize the traits that it is most supportive of within its Main Protagonists.

And the combination of traits it is most against are most often presented within its Main Antagonists.

Frodo-Sauron and Harry-Voldemort are, of course, two of the most successful.

B. Decentralization Balance:

In contrast, a story like ASOIAF could be framed as spreading out the traits that it takes negative and positive stances on more evenly amongst its cast.

This can fit with an overall tone that is closer to Neutral regarding the fate of its protagonists and antagonists alike.

ASOIAF's decentralized approach has had its benefits for its character cast, with the distant backdrop of the Others as a potential centralized antagonistic force.

But ASOIAF would objectively need either positive or negative centralization concepts, that fit its concluding story, whether for a more centralized or decentralized conclusion.

Eternity will need those kinds of concepts as well, since it is more like ASOIAF in being balanced somewhat towards Decentralization.

C. Centralization and Decentralization Conversion:

My fantasy-type series would still likely bring greater insight for ASOIAF, since Centralization, more than Decentralization, seems to be ASOIAF's current primary direction.

One can analyze stories that have more centralized Positive-to-Negative spectrum casts, in the attempt to imagine what it could look like when those traits are spread out, inverted from positive to negative, or vice versa, etc.

I have not even attempted to begin such an exercise with either of my incomplete series and an ASOIAF type story.

But the "foe who is boundless" has helped ensure me that I could do such a process for an ASOIAF type story, and see valuable patterns emerge.

I will refer to them as "H".

D. H's Centralization Concepts:

In the synopsis, the character with the Ring of Space focused more on H than the Ring of Time and its potential bearer.

They also associated H with their struggles, which are noted to be a "common story". And H was described as "a foe who is boundless".

That could seem to imply that H has an immense standing in the world, like that of a Centralized Antagonist.

Yet it also says that H becomes "greater in threat or in aid to those who become familiar with them".

That does not imply that there are many who are familiar with H. It more so implies the opposite.

This stuff truly works.

I can somewhat think of the Others in ASOIAF, who, as I wrote earlier, seem to be framed as Centralized Antagonists from the story's beginning, yet are known well by few.

It's definitely the kind of positive sign predicted.

So, as I'm writing this, I now see that Martin could have looked at H and taken the traits of unfamiliarity for his Others and flipped "boundless" with "bounded", for something like the Wall.

Those are two out of several trait examples I've noticed.

And I could have done the inverse process.

H's Centralization Concepts Extra:

H's "Boundlessness", H's creation feat of turning the 7 Gifts concepts into tangible form without any apparent need of them, and H's "greater threat with more familiarity" capability.

These are some aspects of H that centralize power and fear concepts related to the Unfamiliar.

H is like the dragon on the other side of the hill, that, only once you have already crossed that hill, and are face-to-face, can you see how big it is.

So, H's theme is somewhat in the vein of the themes of Sauron's "Corruption" or Voldemort's "Death".

Assuming my series' success, the Fear trend with it, LOTR, and HP, seems to be another concept to analyze for an ASOIAF type story.

H's Neutral Centralization Concepts:

Concept combinations that inhabit the neutral part of the spectrum are fairly common in ASOIAF.

How H centralizes neutral range concepts is exemplified with the 7 Gifts.

H caused each of the well-known tangible forms of that popular story to come into being. But H has not apparently "corrupted" their versions.

Therefore, the individual possessing the Ring of Space cannot not reliably predict the nature of whoever or whatever is most intertwined with the Ring of Time.

One could trust the outward use of the Ring of Space to not draw undesirable attention as much as one could trust wearing anything very valuable in one's present location, and as much as one could trust signaling out to any distant stranger.

Generally, one could trust it as much as one could trust humanity.

Also from the perspective of the one who has some familiarity with H, it does not seem that the 7 Gifts could be used to harm H in any significant way.

Yet, as well to them, H's 7 Gifts do not seem to have inherent antagonistic purpose, since they can become linked with anyone or anything, and be used for any purpose.

People who are positive, neutral, or negative in their trait combinations may be drawn towards them, as much there are those kinds of people in existence.

I think of such a thing as the "Iron Throne", as it is quite neutrally represented in ASOIAF.

[7 Gifts and 7 Kingdoms for the Iron Throne seems to be primarily due to the value of 7 Dynamics. But that is also why it would not be just purely coincidental.]

H's Pro Centralization Concepts:

H's "greater potential aid with more familiarity" can be a small indicator that H is built to have some positive interaction traits, that are at least somewhat as inherent to H as the "potential threat" traits.

For another small example, H certainly finds the world of the series to be quite wonderful, a topic which the story itself takes a pretty positive stance on, for different reasons.

And H's theme of Boundlessness, the attempt to connect through all things, plus H's intelligence traits, allows H to see value in working through living and non-living things of all types.

H can make use of each thing's unique potential, for a role within H's own purposes, without necessarily "corrupting" them.

For any who oppose H, this does mean that determining who or what is serving a purpose for H is more challenging.

But that is due to H taking a stance that, in isolation, can be seen as somewhat positive.

H's view on the world and H's capability of seeing value in things as they are comes from the perspective of one who has the benefit of being in the apex predator role.

But they are, nonetheless, examples of positive stances from trait concepts, which may be valuable for inspiration when decentralized, inverted, and mixed with other ideas.

In summary, I do believe that H is a well-structured character with strong centralization traits in negative, neutral, and even some positive directions.

To reference the "Able" analogy for how characters fit together, just as H fits around the Main Protagonist, the ones that fit around H will be reflections of the kind of trait diversity that H has within.

And that seems like it will continue to be very valuable for analysis in the future.

Conclusion: Both of my series mentioned are young. They will not reach enough length to explore all their possible concepts for a long time.

So, the results of my analysis seem to be great and necessary signs of what can be achieved with just the principles that I have utilized.

For an ASOIAF type of story, already it brings to mind the idea of 3 conflicts, like the Others, the Iron Throne, and the Invasion, concluding overall towards the positive, neutral, and negative story directions, respectively.

So, overall, it truly seems that these kinds of concepts covered in this document will continue to be part of some unique and complex structure ideas seen in many more stories in the future.

Section 8. The Final Conclusions

TBD