![]() Like, “What would happen if I did this?” So, to watch people just break societal norms in a very direct way, is incredibly fulfilling. ![]() But even more than considering crime, I think we consider the consequences of a crime. You add on to that that we live in a society where most people follow the rules, and many of us may consider a crime at different points. The Iliad does not fit that way of thinking. MJ: But if you look before the Enlightenment, Beowulf does not fit that way of thinking. So, I think that the way we think about story is already based on the mystery. Even the loosest sense, if you have the most abstract novel, you’re still compiling information as you go through the piece until the end, where you reach some sort of larger understanding. That’s basically the structure for most contemporary novels. ![]() ![]() And by going through this research you build other experiences, you get other information, and then you come to a different understanding, that instead of it being A, it turns out it was B. But if you break down the mystery story, where you start with the conflict, and you try to solve that conflict and your initial attempt fails because the most obvious person didn’t do it or the story’s over, so you have to go through these pages of research. The first story starts with Edgar Allan Poe’s “The Murders in the Rue Morgue” and builds on that with Sherlock Holmes. ![]()
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