Complexes, in the simplest words, are existential limitations that reflect the psychological worldview of their afflicted. As such, understanding the Complex innately leads to a greater understanding of the character themselves. As the central character of the novel, Montague has perhaps the most complex Complex of them all. Montague's highly dependent personality manifests itself in a fiery passion that drives him to show his inherent, unassisted worth. At his core, his deep fear of loneliness makes him incapable of accepting any form of abandonment, either physical or emotional. His Complex plays on this fear and makes his twisted weltanschauung literal- ensuring that he will never experience loneliness by making him not consciously exist in moments of solitude. In this way, the Complex is a defense against his greatest fear, but swung too far into the other direction. To truly come to terms with his Complex would be to balance the fear of loneliness with his overly clingy nature.
Montague's Complex manifests itself in a variety of ways over the course of the narrative, though always following the same essential rules. The trigger for his nonexistence is always solitude, though whether he is aware of an unseen perceiver or not is irrelevant. Complexes may be inherently tied to the mind of the afflicted, but also affect and are affected by the minds of others through a subconscious symbiotic social connection. Montague is also consciously aware of the existence of his Complex, and the fear of its symptoms are as debilitating as the symptoms themselves. Regardless if he were to come to any emotional harm from standing alone in a room for a few minutes, Montague will pathologically avoid such situations. Nonexistence is not discomforting for him, as his conscious thoughts simply cease, then resume upon renewed observation, rather like the pause button on a remote. His subconscious brain continues to function though, beating blood, breathing air, and unless caught in a precarious pose, maintaining balance as well. His body will continue to function even if left unconscious for an extended amount of time, rather like a coma, only facing failure in the face of starvation and dehydration.
The exact semantics of what constitutes "observation" is the most fascinating facet of his Complex's operation, both to characters within the story, such as the constantly curious Tamara, and also to myself, because I honestly have no clue. The variety of situations which test the parameters of the condition make for fascinating thought experiments (a sentiment also shared by Tamara, who is willing to turn my thought experiments into literal experiments, no matter how demeaning). Not all 5 senses trigger existence for Montague.
Sight obviously does, but also contains many caveats which will be explored in more detail.
Sound can trigger existence, but its lack of continuous nature makes it extremely unreliable. Though if he enters an empty room shouting and is heard, he will exist, it only takes the pause between words or a gasp of breath to undo the observation.
Smell is entirely unreliable as well. Not only are humans barely incapable of distinguishing by smell, not many smells are "inherent" to a person. A strong perfume Montague wears is NOT Montague himself, while body odor is the result of bacteria living on his skin. Without an essential smell, Montague is unobservable even to a person with a particularly keen nose.
Touch and physical contact are extremely reliable forms of observation, though they also have caveats. While touching through clothing does trigger existence, touching the clothing without touching Montague himself does not. Similarly, what is being touched must be presently connected to his corporeal form. For example, grasping cut hair does not equal touching Montague himself.
Finally, Taste……… unfortunately counts on a technicality. While drinking blood or sweat or other bodily excretions is entirely ineffective, making physical contact via licking, say…… his foot (what'd you think I was going to say?) TECHNICALLY counts as observance due to the rules regarding touch. Not that this will ever practically come up in any shape or form during the narrative because none of my characters are that nasty (though Tamara still insists on testing it just to make sure.)
Of course, even with these rules in place, there is still many specific situations where the parameters can be challenged, especially regarding the seemingly straightforward rules of "sight". So here's a quick Q and A running through as many as possible!
Does he stop existing when the observer is blinking? (yes, but only momentarily, barely enough for him to recognize).
If you don't see him directly but out of the corner of your eye, does he exist? (yes again! Even if just in close proximity to him, he will continue to exist as long as you don't specifically turn your back on him).
How well do you have to see him- I.E fogged up glasses or long distances? (It ultimately depends if you are able to still distinguish who he is. If he's merely a shadow of a something in your vision, that is not enough).
What about if he's fully concealed, as if under a blanket, but you can still see his outline without seeing him directly? (No. Seeing a "human shape" still leaves doubt to whether it could be a mannequin of something of the sort.).
What about if he is in clothes that fully conceal the body, such as a mascot costume or a fursuit? (This one's tough because he's still recognizably human, but he himself is not visible, just the costume. I may have erred on the sight of this answer because imagining him being stuffed into a fursuit as a form of torture is just too funny).
What if the observation is through a mirror? (yep! 100%).
What if it's through a livestream video? (this one's tough again because it's a continual form of observation, but is he being observed or just pixels that resemble him? Is the idea of Montague enough to communicate his existence? Unsure bout this one actually)
What if it's through a video that was recorded remotely than watched later? (Probably not. It’s a lil bit complicated because if it did work, he could exist at any time just as long as he filmed himself and someone in the entire of the future watched it at some point. On the other hand, if it doesn't work, then this allows him to be observed while not being observed- a paradoxical statement that undermines the absolute nature of the Complex).
Questions over!
So yeah, Montague's Complex is very compl…icated. But the thought experiment is one of the most appealing parts of the character, and writing the novel as a whole. If anyone has any more questions about how Montague's complex would react in a specific situation, I'd love to hear it! It'd actually help a lot, just so I have answers to any hypothetical questions future dude-bro fans want to try and trip me up with to prove their intellectual superiority.
Tomorrow i will explain beyond the mechanics of how Montague's complex works and, how it affects the way he lives his life in drastic ways.
Oh yeaah and before i forget: heres my a list of tagged people (not going to do it every day lol, this one’s just a reminder)
I’ve just tripped myself up majorly in my drafting. I’ve been working on some plot points on the central relationships, which i’d been hoping to keep as Gay as Possible. When it comes down to it though, a Plot Point which is central to the overall narrative ONLY makes sense if the couple in question... is Het. It’s about the identity of the main villain in a big way as represented through a mis-remembered pun, which if a remove changes the story in a major way. I want to keep it gay, but... the plot makes more sense the other way. I am torn between my role as a Writblr and my role as a member of the LGBT community. I wish there was some way to have both but its such a big contradiction.
The primary protagonist of The World that Moves Without Me, Montague Arnett is the audience’s introduction to the world of the Complex. Abandoned by the person in the world he cares about most, his fear of loneliness develops into a psychological condition known as a Complex. Now, whenever he is not observed (visually, via proximity, or through touch), he enters an existentially uncertain state of both physical and mental unawareness, only reentering conscious reality upon renewed observation. This existential limitation is merely an extension of his warped worldview- a twisted reflection of his emotional dependency turned literal. His belief that he “cannot exist without others” becomes terrifyingly true.
In one word, Montague is a fighter. Unwilling to take his fate lying down, he claws back every inch of independence the world will allow him. He is chronically incapable of accepting passivity, choosing to struggle even when the struggle is unnecessary. His highly passionate nature and inability to ignore any discomfort without raising a fuss both endears and annoys the people around him.
Montague’s highly dependent personality makes many of his relationships a struggle. He paradoxically loves and despises the company of others- he feels most alive when he feels his ramblings received by those around him, yet also deeply fears any sign of annoyance or fatigue towards him by his friends. His tendency to overreact to even the most minor signs of someone growing sick of him ironically tends to push them away further.
Montague formerly made his career as a photographer specializing in weddings, before an unfortunate accident involving driving the company car while nonexistent. Originally attracted to the job by his romantic aspiration to know every normal day for him as someone else’s happiest, the reality of the job only increased his cynicism. Coupled by his own romantic struggles, he increasingly sees the signs a couple is doomed from the start- and becomes more willing to tell them as well.
Montague’s innate sensitivity towards others makes him highly perceptive, even if he draws inaccurate assumptions most of the time. The unique circumstances of his condition awaken a hidden inventiveness within him, born out of necessity. Faced by an adversity that limits his very existence, he finds out of the box solutions in order to regain the stable life he lost.
The greatest adversity Montague confronts is not the Complex itself, but the disbelief of the wider community. In the face of his condition’s innate unobservability, he is denied proper diagnosis and the benefits that would allow him to live his life as unhindered as possible. Increasingly desperate to prove his unprovable condition, he is driven to making a deal with a capricious stranger as his only hope of regaining his very existence.
i love that feeling when you’re writing and then you think up a plot twist that makes everything else make so much sense! only days from the end of nano and i’m already working in my mind of how im going to implement it the next edit.
Tamara’s last name is Bach, like the composer. This is because her Complex makes her uncontrollably curious and it’s a stealth pun for “Pandora’s Box”, (Pandora being the unsubtle concept name for her), but instead i settled for the sound-alike “Tamara Bach”.
Uncontrollable curiosity is not quite the right term for her complex. more precisely, it’s a tendency to fixate on the multitude of unknown mysteries she encounters in her day to day life. Any unknown sticks in her brain, unable to leave her thoughts, and will not leave until the unknown becomes known. Hundreds or mysteries fall into the backlog of her brain, with the promise of “i’ll go back and figure that out one day” most likely never to be fulfilled. It’s because of this she often acts to solve a mystery as soon as possible, though technically, she has the choice not to satisfy her curiosity. She doesn’t do this though because it’s not in her nature.
This Complex might seem less debilitating than some others, such as Montague’s nonexistence or Artemis’ permanent meta-muteness, but it has its drawbacks. For example, despite her hunger for knowledge Tamara is incapable of using the internet effectively. If she opens her browser to find out the answer to one question, dozens more will pop into her head and she’ll type them in different tabs as well. Any website she visits she has to click every link, and clickbait newsites and advertising are the bane of her existence. It’s no exaggeration that if she starts browsing the web, she’ll stay addicted for the whole day (or at least until the browser crashes for tab overload). To combat this, she uninstalls the browser on her phone, and keeps the laptop charger on the other side of the house so the computer will be forced to shut down- eventually...
Tamara hates rhetorical questions, and never uses them in her speech. She gets annoyed when other people use them around her, especially Montague (”Do you WANT me to be able to answer that or not?”).
Tamara’s view on Complexes is one of absolution. To her, a Complex is innately a part of who a person is, and to try and change it means betraying who you are. People who do immoral things because of their complexes shouldn’t be blamed because they were just acting within their nature, a nature they can’t control. To Tamara, a Complex is the purest distillation of who a person is, and this purity fascinates her. Much of her curiosity is focused on the Complexes of others, which are often kept secret to avoid social repercussions. To her, “Broken people are the most beautiful”, and they just need her help to realize how beautiful they really are. Her romanticization of the suffering of others oddly enough does not apply to her own Complex, which she sees as somewhat lacking and boring compared to those of the people around her.
Tamara used to be a psychocomplexist (a Complex psychologist), but lost her position due to a shocking lack of ethics when dealing with her clients, often prying more into their lives than necessary in invasive ways. She’s intent on regaining her lost position by proving her methods are more effective than classical (i.e., moral) approaches.
She considers herself a detective of sorts because of her complex, but has no official training and is actually quite bad at it, often focusing on superfluous details over what is actually important when dealing with the unknown. She specifically labels (i.e. blackmails) Montague into being her assistant because of her love of Sherlock Holmes (who exists in this universe because why wouldn’t he?). “Just tag along for a bit. A detective needs an assistant like a Sherlock needs a Watson!”. “That’s... not a thing? Sherlock doesn’t need an assistant cuz he’s a detective. He needs it cuz he’s a FICTIONAL CHARACTER and he needs someone to fucking talk to!” “... Are you implying i don’t need people to talk to me, too?” “... Stop making that face at me.”
Tamara is the deuteragonist of the story, but really, she’s the one that drives the plot (by virtue of being able to do things without assistance, unlike Montague). Montague’s role as protag is less “drives the plot” and more “struggles to have control of the steering wheel for even a second as Tamara takes his life off the rails (by virtue of the immense power imbalance between them due to his utter dependency on her and her casual interest in helping him out)”.
Anyway, those are the key facts that help you understand what Tamara Bachs is like. All that’s missing is art of her, or a faceclaim or something. Oh well!
Tag List:
@randomness-n-fandomness
People who aren’t on a tag list but have expressed a “tag me in things!” mentality in the past, so i hope i’m not messing anything up by tagging them:
I WANT TO WRITE BUT MY COMPUTER WITH ALL MY NOTES ON IT IS BROKEN!
and like in a really annoyingly minor way, where all that’s wrong is that part of the casing has popped off, but that means that the charging port has come loose and has slid JUST a little too deep for the chord to reach, making it functionally unchargable. Sigh, and i got it online so figuring out the warantee will be hell! BUT HEY AT LEAST I HAVE A CHAPTER OUTLINE
Introduction to The World that Moves Without Me: Complexes Explained
I know I haven’t posted anything for quite a while, but it’s because I’ve been somewhat stumped.
It’s not that i haven’t been thinking ‘bout my WIP at all, or because i haven’t been working on it (though work has certainly been… slow), but rather because i have no freaking idea how i’m meant to talk about it on this blog. Every time I start to write a post, to talk about the cool characters or exciting world, I hit a very specific writers block: I haven’t really explained how the “magic” system, Complexes, work. There are two big problems with this:
EVERYTHING in the novel ties back to Complexes. Complexes do not only affect the plot and the worldbuilding, but the Complex of each character is heavily rooted in their personalities, arc, and the thematic underpinnings of the whole novel.
Complexes are, well, complicated. Though the concept is certainly cohesive, it is not simple. Complexes serve different purposes at different points- to advance the plot, to understand the characters, and to convey the themes on a variety of levels. There is too much going on to simply explain it at the top of every post.
The solution to this? Explain the whole hullabaloo in one giant post (this one), smack it in my description at the top of the blog, and link back to it in each subsequent post when talking about individual Complexes. That’s the only chance I have for people to have even the slightest chance of cutting through this kudzu.
PART 1: SIMPLIFYING COMPLEXITY
In unsurprising news, a system literally called “Complex” is really freaking hard to break down into simpler terms. A lot of interconnected ideas are equally integral to the concept, so it’s hard to decide on what the first step in this explanation should be. So instead, I’ll start by explaining how Complexes differ from usual magic systems.
Though no two magic systems are exactly alike, there are still underlying similarities that form the conventions of the concept. Magic systems exist as a way to structure different powers or other supernatural phenomena in a coherent way, laying down rules for what is and isn’t possible in the universe. The Complex system is no different in this regard, but is wildly different from the norm in terms of the content of the “magic”. Most magic systems fall under the banner of “superpowers”: enhancements to the abilities of the users, allowing them to perform superhuman feats beyond the scope of what is humanly possible. They are power-ups, wish fulfillment (and i meant that in the good way), and allow writers to harness their imagination in creating the most off the wall powers and applications of power possible.
However, almost every magic system has a second half: the limitations. These are parts of a magic system that says not what you can do, but what you can’t: a counterbalance to the potentially story-breaking powers of the characters. The most famous of these is obviously Superman’s kryptonite, which forces him into a weakened state. Magic systems are a marriage of power and limitation, combining the godlike abilities of the superhuman to drawbacks keeping them tethered to reality.
Complexes are superpowers without the “powers”. They are pure, crystalized kryptonite. Instead of enhancing the user beyond what is humanly possible, they are supernatural restrictions placed on people that prevent them from being able to do things considered part of human nature by default. Powers in the traditional sense can be activated at deactivated at will; people afflicted with Complexes have no such luxury. They are automatic and permanent. Perhaps one way to condense this idea into a simple phrase would be to refer to them as “anti-abilities”, though that still does not feel quite right. The next best term might be “curse”, but it is still a flawed explanation. Curses imply restriction placed by an external source, whether it be a malicious witch or a cursed item. Complexes do not come from an outside source; they are curses that come from within.
Though they are an inherent part of the universe of The World That Moves Without Me, Complexes do not develop randomly, nor are they genetically inherited (though one can be genetically predisposed to them). To understand Complexes completely, one must understand that they exist on two levels: they are both a physical restriction, and a state of mind. Complexes are inextricably linked with the way that the afflicted person views the world- the Weltanschauung, if we want to be pretentious (and german). But perhaps it is the right word to use, as worldview implies passivity, simply viewing the world, forming opinions disconnected from reality itself. Weltanschauung implies not only the view of the world, but the way one interacts with it, the way one chooses to live their lives. Complexes do not affect people whose Weltanschauungs are content. When one’s worldview becomes overrun with angst and their sense of self crumbles under the contrary nature of reality, a Complex is born from the rubble to fill the hole.
Complexes are not abilities. Complexes are curses. Complexes restrict, not enhance. But Complexes cannot restrict what a person does not already have. It cannot prevent someone from being able to shoot fireballs, because that is not part of human nature. Complexes do not grant, they take- and they take what we all take for granted. The ability to talk. The ability to control our actions. The ability to trust one’s sense of reality. The ability to keep our thoughts hidden as they writhe in discomfort and pain til they become impossible to mask. The ability to hold it fear, lest it build like a flood and overwhelm us. The ability to place our trust in others. The ability to define the terms on which we exist.
In all these ways are our ability restricted by Complexes. They are not restrictions of the body, but ones of the mind that are reflected in the body. A rule enforced on life, which no matter what, you cannot break. In this way they are truly anti-abilities: limitations placed on the inherent agency of humanity.
Anti-abilities. No.
Un-abilities. Not quite.
Ah, yes.
Dis-abilities.
PART 2: “Magical Disabilities”
Dis-ability is undoubtedly the truest, simplest expression of what a Complex is, but I would be hesitant to use it as a tagline or in a query letter. This is because of the negative connotations of “magical disabilities”. Trying to take an issue that real life people struggle with and transplant it into a fictional universe where the rules work differently can have disastrous consequences. However, this section is dedicated to listing many of the pitfalls of “magical disabilities”, and comparing them to the how the Complex system works:
First, although I’m a writer, I’m also a human who has had personal experience with mental illness. These stories are drawn from my own life experiences, my thoughts about defining identity, and my reality. Too often writers who are not part of a minority are more careless when writing about such issues because they innately see the characters they are writing about as “others” to society. They focus on how the disability makes them “less’ human, estranged from the status quo. However, the World That Moves Without Me is told from the point of view of the people afflicted- and the characters are deeply, intrinsically human.
They don’t negate the disability. Often, magic or superpowers are used in terms of a disabled character to “cancel” out the disability. They “have” a disability but the magic negates it to the point where they suffer no disadvantages. We all can think of characters who are blind, but not functionally so. Complexes preserve the disadvantage (and little else). Often, this trope is used because the writers of an action-oriented series believe that without a balancing factor to the disability to characters would not be able to contribute when fights break out. On that note....
It is not a story about superheroes. It is not an action story at all. The (dis)abilities are not used for combat, or to show how the characters are badass beyond their disability (though there is certainly room for stories like that. It’s just not what I want to write). This is a story about the superhuman being human, struggling with their personal curses and the tribulations they face in everyday life. The conflict does not come from external sources; the conflict comes from within, the struggle against a part of your identity you cannot control and reconciling your sense of identity around it. Despite this…
It is not misery porn. The story is about the intense struggles of the characters, but intense does not equal futile. Throughout the despair, the angst, the loss of ability, there is a sense of hope. That things can get better. That you can take control back in your life. That your mind doesn’t have to control you. That no matter what, you can choose how you want to live your life. The realism of the setting isn’t an excuse for pessimism- in my experiences, the world doesn’t work that way.
It is inherently about disability. It is not a metaphor you could remove and keep the premise. It isn’t just a story featuring characters with disabilities who are side characters to the able protagonist. The story is about communicating the disabled experience as realistically as possible. It exists so that people who have experienced it can relate to it. It exists so that people who haven’t can be educated. And hopefully, it will help both groups come to new understandings about the way people with disabilities view the world.
PART 3: COMPLEX MECHANICS
We’ve established that Complexes are anti-powers which serve as a metaphor for disability. However, I’ve barely touched on the actual mechanics of the system. Parts of this will be covered in later posts, so i’ll start by going over the basics, before using some characters as examples.
The core intention of the Complex system is to portray not only how disabilities function, but how they feel to the person (especially mental illness). In that way, a Complex can be thought of in two parts: the Psychological Limit and the Metaphysical Reflection.
The Limit is the psychological component, the closer of the two to the way real world mental illnesses function. I don’t need to explain how mental illnesses work, but it is important to note that it is not always a one-to-one conversion. States of mind which would not be considered official diagnoses pop up as Complexes as much as real world illnesses. However, the defining trait of the psychological component is that it is an inherently limiting system of thought- one where the thinker often loses control of their ability to choose. This usually takes the form of a thought of “can’t”- I can’t do this. I can’t let others see me this way. I can’t control anything. However, it can also take the form of a “must” (after all, a must is simply a “can’t not”)- I must do this. I must always appear this way. I must take control. This statement soon becomes a subconscious mantra, a rule which the person must live by out of fear of breaking it. Soon it becomes second nature, hardwired into their brains.
The other side is the Reflection on Reality. Mental illnesses exist only in the heads of the people afflicted with them. This is somewhat true with Complexes as well, but not completely. Complexes are exaggerations of how disabilities feel, that reflect reality in an abstract but often literal way. Basically, it takes the rule that is hardwired in the brain of the Complex individual and makes it a fact of reality for this person. The Reflection is less of the Complex itself, but more of a symptom- the way they see the world becoming literal.
To fully illustrate this concept, we must work backwards- from the surface level of the “dis-ability” to the psychological root of it. To demonstrate this, we will be using two characters with two different types of Complexes- a Behavioral Modifier and a Action Modifier.
On the surface, Tamara Bach seems normal. There are no innately supernatural phenomena that you would notice if you were to chat to her. However, she would soon make it apparent that she has a Complex, just one that only exists inside her head (because she never shuts up about it, of course). The Reflection changes the way she behaves- it makes her more curious, to the point where whenever she is confronted with a mystery, it will linger in the back of her mind, never fading away, until she discovers the answer. It could be as simple as “what was behind that closed door?” or as complex as “what is up with this government conspiracy?”. Despite the lack of flashy or even externally observable symptoms, there still is a Complex at play, altering her behavior so it is impossible for her to break her rule. A Complex which is still supernatural but only exists psychologically is known as a Behavioral Complex.
On surface, you can immediately tell something is off with Artemis Floyd. She might cut a suspicious individual just from her body language, withdrawn but with the eyes darting about. Even if you tried to coax a conversation out of her she would just frown and say nothing. It would not be until she walked away that you would notice that her footsteps made no sound. Artemis has an active Complex, which means a restriction on actions she could otherwise take. Active Complexes might seem simple- it makes it impossible for a person to do an action- but it is far more varied than it seems. Artemis action is that she is incapable of making sound, or having anything that she causes to move make sound. This might not seem like an “action” at first, but it is still something she was able to do that she isn’t able to now. It is more like a forced passivity towards that action.
Active Complexes might seem powerful and reality warping, but they are actually not. The secret is that Complexes do not warp reality- only perception of it. It is not that Artemis is not physically producing sound waves, but rather that no-one, not even her, can hear them. In this way, feats such as teleportation are impossible with Complexes- they are strictly only alterations of the mind, either changing action or behavior. However, they do not only affect the mind of those afflicted. All minds in The World that Moves Without Me are connected through a social unconscious where the way one person perceives the world begins to affect the way other people behave or perceive in relation to them. It is almost a form of subconscious mind control, just one that neither party has control of. Artemis’ Complex does not only affect her, but everyone within hearing range of her. Artemis also has a psychological component to her Complex, but I would rather elaborate on what the silence represents in Artemis’ individual post.
So that’s Complexes summarized! Automatic, psychologically driven anti-abilities that exist as a metaphor for Mental Illness. But this is still only the beginning. There’s posts about characters, mechanics, and how the existence of Complexes affects society. If these concepts sound interesting to you and you want to hear more, then sign up for my Tag List so i know to tag you.
I’m just working on the editing of an intro post for my WIP that explains the magic system. Im really excited to have that out so I can finally start talking about my project seriously. Would anyone be interested in having an early access look at it? No editing required, just telling me if it makes any sense. Thanks!
