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  "documentTitle": "Pixar 22 Rules Analyzed",
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  "notes": "This appears to be a page from a creative writing guide or screenplay manual, focusing on the 'hero's journey' and antagonist development.",
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      "text": "Quantity alone doesn't make the odds greater, opposing strength does. If a single soldier in a Sherman Tank goes up against a thousand Roman legionnaires, the audience won't be terribly concerned about that tanker's fate despite the number of opponents.",
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      "text": "But if a single Roman legionnaire goes up against a squad of Sherman Tanks, the odds are very much stacked against the Roman and an audience will be intrigued to find out if he'll somehow prevail (or, given most audience members' exposure to story trends in our culture, how he'll prevail).",
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      "text": "Making the character's victory (or defeat) too sudden, spurious, or simple will undermine all the tension you've worked to create up to that point, wiping it all away in one bad choice. The victory moment must be a struggle, and",
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      "text": "It's also important that how the character overcomes these seemingly insurmountable odds be motivated by that character's personality, take advantage of her strengths, and be plausible -- not necessarily realistic, but believable and consistent with the story world you've created.",
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      "text": "This is a particular problem with \"hack n' slash\" action films where sheer numbers of dumb, aimless, weak opponents tries (usually quite unsuccessfully) to make-up for an intelligent, driven, strong central opponent.",
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      "text": "Most importantly, the opponents need to have the advantage. If the advantage is too great, the protagonist needs to acquire allies in order to make a successful outcome (if there is one) believable, but it's far worse for the dramatic tension if the opponents are too weak to pose a credible threat to the protagonist.",
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      "text": "Active, intelligent opponents are usually the most compelling obstacles, and they work best when they have opposing stakes. Opponents need to be equally as invested in their own success as the protagonist is, and therefore determined to bring about the protagonist's failure in order to achieve their own goals.",
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      "text": "does broadening the risk, a common, melodramatic example of which is the protagonist discovering that not only will she die if she fails, but \"life as we know it will cease\".",
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