The Mysterious Mr. Enter / Jonathan Rozanski's "Growing Around" - IndieGoGo Campaign Failed, John going off the deep end, "Turning Red" is ignorant about 9/11 (later retracted)

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8777BB5 said:
I hate to insult his legacy like this but does anyone think Enter could be the next Henry Darger? I mean Growing Around is looking more and more like a crappy knockoff of In the Realms of the Unreal even with a pseudo transgender element to it.
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At very best, Enter could become the next Daddy Derek. Both have a creation that is out dated, unoriginal, and impossible to like unironically. Plus he’s already made one self published book, he can easily catch up to the Cool Cat series. They also both completely fail to understand children and childhood.
That said, Derek is superior in every way
 
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LiquidKid said:
At very best, Enter could become the next Daddy Derek. Both have a creation that is out dated, unoriginal, and impossible to like unironically. Plus he’s already made one self published book, he can easily catch up to the Cool Cat series. They also both completely fail to understand children and childhood.
That said, Derek is superior in every way
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I doubt Enter will be as remembered as Darger or Derek. His show wasn't funded, his book will become obscure, and eventually he won't make videos anymore.
Enter isn't as weird as either of them too.
 
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https://www.deviantart.com/mrenter/journal/Why-I-don-t-use-traditional-script-format-795529362
Enter said:
You may have noticed if you read some of my "screenplays" for episodes of Growing Around or various other stories that I do, I write in a script format that's more of my own creation than anything else. It works simply like this:

[Information that the characters do, or setting environment goes in brackets like this.]

Character name: Says this

Character name: {Circumstance, such as being off-screen} says this.

Character name: [tone, such as sarcastic] says this.

-----------------------------
And on my website, there are generally lines when it comes to breaking up scenes. This is not "traditional screenplay format," as you would see on any Hollywood script for instance. I don't use traditional screenplay format. I don't like it, and there are many reasons for that. One thing that you have to understand is that the idea of "formatting" generally has two purposes - to make things easier to read; and to make things easier to edit. Quite honestly, traditional screenplay format achieves neither of those things. It also has the cost of making writing itself harder and breaking up flow.

I'm going to go along with as many examples as I can think of, so this one might go on for awhile. First of all, whenever you write an interior scene, you're supposed to write INT-SCENE. If they're in an exterior scene, it's EXT-SCENE. You never write the full words, just the abbreviations. As someone reading the screenplay, whether the characters are inside or outside is largely useless, dead information. If the actors are sitting at a table at a restaurant, for example, whether something is inside or outside doesn't matter, they'd have the same tone.

It also doesn't help to read the script as just a script. Let me give the example with the place - HOUSE. Being at someone's house can be interior or exterior, so you could argue that there'd be some use in distinguishing the two of them. However, in that particular case "HOUSE" is too vague to be useful. Being at the house exterior can put you in the front yard, or the backyard, or hell even on the roof - all requiring a different set. Being in the house could refer to any room. If the stage direction was [Cut to JAKE'S LIVING ROOM], there's no sense in also telling that that's an interior. On the off chance that Jake is some kind of weirdo that has a living room outdoors, the stage direction EXT is probably not the best place to describe it.

And course, there's there's always the grey areas that make declaring something interior and exterior a little bit nebulous. A ruined building without any roof and part of the walls blasted outside may be described as interior, although acoustics, lighting, and set design would be more synonymous with exterior. If a character gets shrunken to the size of a doll, and they go inside a doll's house inside a bigger room, and they leave the doll house into a miniature replica of the outer world, is that an interior set or an exterior set? And these aren't far-fetched examples in terms of speculative media.

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In traditional script writing, a character's name will be placed center aligned and then their text would be right underneath it.

Sally:
Sally says this.

Here's how I do it:
Sally: Sally says this.

Let's start with the annoyance in terms of writing. With traditional screenplay format, the scene information is not center aligned; while the character dialogue is. It continually breaks the flow of thought to have to pause and go back and forth between two different alignments. When you write, say a novel, everything is left-aligned. 99.9% of the time you never have to change it in mid-scene. The only time that I use center-align when it comes to prose, is something as rare as the title or chapter notifiers. Needing to stop mid tempo can break flow and lead to losing your train of thought. Not to mention, the keyboard shortcuts to change between them are three buttons, which means you may as well just use the damn mouse (Ctrl+shift+l for left align; and ctrl+shift+e for center align, if you're wondering. I don't know why e for center, if this had to be more complicated). And not to mention, some stage directions are also supposed to be left aligned. Yes, you could just write like I do and then edit later, but this isn't the kind of "polish" people should really be wasting their time with in editing, unlike spellchecking. Where the words are on the page do not affect the final product. The audience is never going to see this unless they specifically look into it.

It may seem petty, but honestly, this is one of the main reasons I never use the traditional screenplay format.

Then of course, there's the reading. And if you're trained to read this way, then obviously it's easier. But in the English speaking and English reading world, we read left to right. When you read a page, your eyes naturally start on the left side of the page. So, Character: "says this thing" just looks like it fits a lot better.

To differentiate between the stage directions and the character name, I put the character names in bold (it doesn't often show on DA because just copying a bold word doesn't make it bold in a literature post); and I put stage directions in [brackets]. Why? Because I want to make reading the script as easy as possible on everyone who has to use it, and everyone who has to write it. Not to mention, that when printed:

Sally: (Sarcastically) Says this - only takes one line.

Sally
(Sarcastically)
Says this.

Takes three and wastes paper and printer ink. And once again, putting them all on the same line combines the thought in the reader. It's three separate thoughts for Sally/says sarcastically/says this. As opposed to Sally says this sarcastically. You only need to glance at my format, while you need to stare at the traditional format to get it embedded, especially because naturally the eye sees more horizontal information than vertical.

Anna
(fast as possible)
When a character takes up as many lines as possible because they're very wordy or they talk a lot, or they talk fast and say a lot of words at once because that is an integral part of their character, their lines tend to start looking like the scene descriptions and may end up being ignored, even when they're center aligned like this. Sure, this can be avoided by not having a character like this, but this situation absolutely never comes up in my formatting. Technically you're supposed to shrink the margins for characters like this, but it just amplifies the alignment switching problem, since it takes more time than it should to fix this and will break train of thought.

Sally
(Panting)
When a character is--
(stop to take a breath)
Out of breath
(takes a breath)
Or has some other affect
(takes a breath)
To their speech
(takes a breath)
Everything can run together, especially if the stage directions and lines are of similar size
(takes a breath)
Or some of the stage directions sandwiched between longer strings of text take extra effort for the reader to draw their eyes to, and can have them lose their train of thought, which is the last thing you want an actor to do.

Some scripts even do something like this

SALLY:
Says this

Trying to read something in that format makes my brain hurt. Remember how we're trained to read left-to-right? That's going to apply, even if another word is lower. So, the immediate information someone gets is "this is said"/by this person. Which is backwards when you want to make this easier on the reader.

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I also have an issue with scene transitions. Although that comes more from me thinking about my scripts as animation. I don't think I have this issue when I do this with other mediums. That's because, in animation, what constitutes as a "scene" is a little bit more nebulous than any other medium. A scene ends when the place or the time changes, that's the traditional definition.

Let's start with... something relatively obvious. Cutaway gags or Gilligan cuts/crash cuts.

INT. SCENE A
Character 1:
Sets up a cutaway

CUT TO
EXT. SCENE B
Character 2:
Does the cutaway gag
BACK TO
INT. SCENE A
Character 1
Makes a punchline
END SCENE

Not only loses some of the humor in the script, but it also takes over a minute to write approximately two dozen words for someone who has a typing speed of over 100 wpm. This looks and reads much, much neater:

[Cut to Scene A]

Character 1: Sets up the cutaway

[Crash cut to Scene B]

Character 2: Does the the cutaway gag.

[Cut back to Scene A]

Character 1: Makes a punchline.

-------------------

In terms of animation, say you want to script someone singing from morning to night, again and again and again as a part of a joke. Well... changing time or changing place changes the scene. Except, this is all a part of the same true scene and the same conflict, one character annoying the other in this specific place. I could go on about how nebulous scene changes are. But there is a reason novels don't have like an asterik or another marker every time the scene transitions.

I do know that it's so the people behind the movie or television show know what set they need to build, or act on. What props should be out, etc. However, that doesn't really apply to animation. You can change up the background at will, and... well, that scene that takes place in the woods now takes place on the moon. The "props" and "sets" are at the disposal of the animator at all times.

---------------------------------------------------------------
I don't think that I'm going to change anything in "how screenplays are supposed to be written." And if you want to get published in Hollywood, then by all means, learn traditional screenplay format. But the purpose of language and writing is to transfer the most meaning with the least amount of effort. And sticking to this format goes directly against that. No written work should ever force you to align-right. Or change the margin in mid production.

I've started from writing prose, so maybe it's just me. When you write a novel, it's left-aligned forever and ever and ever (except titles and chapter breaks, which I don't really count). Where formatting - things like paragraph indents - were made to make reading easier and not just clutter up the page. Speaking of which, there is way too much white space on traditionally formatted scripts. Seriously, printer ink is expensive.​
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8777BB5 said:
I hate to insult his legacy like this but does anyone think Enter could be the next Henry Darger? I mean Growing Around is looking more and more like a crappy knockoff of In the Realms of the Unreal even with a pseudo transgender element to it.
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If anything he'll be remembered as a Chris Chan.

Growing Around reminds me of Sonichu with its tons of autistic lore based around children's media and fully fleshed out episodes, even though it'll never be used because TV execs aren't interested in their garbage.

It's an escapist fantasy based around being able to work on a TV show.
 
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Hey, even as I lost respect for him, you have to admit he's not as big a loser as Benthelooney. He has a vision (that isn't good) while Ben never had one (What happened to his awful looking comic?), he knows he can't draw so he hires other people unlike Ben (who doesn't even get basic stuff right, "imitates" better artists and fails, and doesn't care about criticism), and his voice (at least compared to Ben) doesn't make you want to go deaf. I'm not really defending him, just playing Devil's advocate (I'd never defend Ben).
 
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ForerunnerAI said:
Hey, even as I lost respect for him, you have to admit he's not as big a loser as Benthelooney. He has a vision (that isn't good) while Ben never had one (What happened to his awful looking comic?), he knows he can't draw so he hires other people unlike Ben (who doesn't even get basic stuff right, "imitates" better artists and fails, and doesn't care about criticism), and his voice (at least compared to Ben) doesn't make you want to go deaf. I'm not really defending him, just playing Devil's advocate (I'd never defend Ben).
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You can literally say "at least this cow isn't as bad as X" about anyone on this site.

Just because Enter isn't as bad as someone else doesn't mean he isn't an autist that deserves to be mocked.

Stop trollshielding.
 
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Piga Dgrifm said:
https://www.deviantart.com/mrenter/journal/Why-I-don-t-use-traditional-script-format-795529362
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One thing that you have to understand is that the idea of "formatting" generally has two purposes - to make things easier to read; and to make things easier to edit. Quite honestly, traditional screenplay format achieves neither of those things.
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Yeah because Enter's scripts are so easy to read.

What the fuck, every sentence more of this I read makes this sound like a satire. He says whether a scene is indoors or outdoors doesn't matter, it's too hard to read dialogue when it's centered, and nobody should bother formatting because it's a waste of time because the audience won't see it when in GA's case that's all anyone will ever see. Then he says it's only important to spellcheck, which is hilarious because his scripts are full of misspelled words and broken grammar.

He goes on and on about how centered dialogue is dumb but he doesn't understand it's supposed to stand out so that voice actors can single out their fucking lines. He'd rather have all the text clumped up in as little space as possible rather than just use a tried and true easy to learn and understand format used by literally everyone from amateur home movie makers to billion dollar film directors.

Let's take a look at this part I screencapped. After having a hearty chuckle or rage-induced aneurysm over the highlighted part, look at the text at the top and tell me which is easier to read. The centered one is literally instant, you can see every word all at once and it appears neat. Enter's format requires you to drag your eyes from left to right to see the whole thing.
 

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Are you fucking kidding me

This whole thing contradicts itself. He first makes a point that his scripts only have to serve him and whatever autistic circle of animators, and that the untrained audience doesn't need to be able to read it. Then he makes the point that making it easy to read for everyone is the goal, even if it means sacrificing useful information.
 

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mooo said:
Yeah because Enter's scripts are so easy to read.

What the fuck, every sentence more of this I read makes this sound like a satire. He says whether a scene is indoors or outdoors doesn't matter, it's too hard to read dialogue when it's centered, and nobody should bother formatting because it's a waste of time because the audience won't see it when in GA's case that's all anyone will ever see. Then he says it's only important to spellcheck, which is hilarious because his scripts are full of misspelled words and broken grammar.

He goes on and on about how centered dialogue is dumb but he doesn't understand it's supposed to stand out so that voice actors can single out their fucking lines. He'd rather have all the text clumped up in as little space as possible rather than just use a tried and true easy to learn and understand format used by literally everyone from amateur home movie makers to billion dollar film directors.

Let's take a look at this part I screencapped. After having a hearty chuckle or rage-induced aneurysm over the highlighted part, look at the text at the top and tell me which is easier to read. The centered one is literally instant, you can see every word all at once and it appears neat. Enter's format requires you to drag your eyes from left to right to see the whole thing.
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Honestly, this guy's just so full of himself.
 
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What the fuck, does he think animators are omnipotent beings who can control what shows up in toonboom without any idea where the characters are? No, they need to know what scene it is and set things up accordingly just like people on a live action set would.

Speaking of which, there is way too much white space on traditionally formatted scripts. Seriously, printer ink is expensive.
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Ok, pack it up boys. He's trolling. He can't seriously think that white space costs printer ink.
 

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Does... Does he think the printer adds white ink over the white paper or something? What is he on about? Why in the world does he think more white space equals more ink? And why is he worried about printing these anyway if there aren't any actors to give them to, and if he DID have actors they'd take one look at these text clumps and laugh in his face?
 
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Piga Dgrifm said:
Does... Does he think the printer adds white ink over the white paper or something? What is he on about? Why in the world does he think more white space equals more ink? And why is he worried about printing these anyway if there aren't any actors to give them to, and if he DID have actors they'd take one look at these text clumps and laugh in his face?
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I don't know why he's so against white space that makes a script easier to read in the first place.
 
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Piga Dgrifm said:
Does... Does he think the printer adds white ink over the white paper or something? What is he on about? Why in the world does he think more white space equals more ink? And why is he worried about printing these anyway if there aren't any actors to give them to, and if he DID have actors they'd take one look at these text clumps and laugh in his face?
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I think he means printing is expensive so he’d rather use up as much space as possible on the page?

He just said it in a retarded way.
 
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