I think I'm articulating what most of us are already thinking and a small minority don't quite understand when I say that the audience can only get so shocked. When your observing media, shock, by its very nature, will only come from something unexpected. As such, as writers try harder and harder to shock and offend the viewer, they will either stop reading do to shock and offense, or get used to the new, dark tone. Unless, of course, the viewer is a total edgelord, but lets not talk about them.
That said, shock can be used effectively, especially if its mixed in with other emotions. The execution of Eddard Stark is a good example of effective shock in a story that's already chocked-full f potentially "edgy" material, because no one expected him to die AND his death had serious emotional impact on other characters.
"Edge" is what happens when non-dynamic characters encounter constant shocking/offensive situations, and usually responding with "dark" humor or straight-faced cynicism. Essentially, "edge" refers to the idea that since shock CAN be effective in storytelling, a good story could logically be something that only tries to shock and offend the viewer.
As I see it, ways to avoid an "edgy" story, despite being dark
1. Have the character react dynamically to what's happening. don't just have a panzer-man stay a panzer in the face of all the violence he's used to. have him struggle with reality and grow as a person, either slowly becoming a panzer-man or trying to find what little good remains in the world
2. Pacing. if you have your villain rape some woman we've never met, it won't come as a shock when he rapes 3 women we've never met the next issue. to truly be unexpected (IE shocking) dark moments must be few and far between in a work that has some optimistic elements.
3. Slapstick. because, lets face it, edge is dumb. but if you embrace how dumb it is, you can get shit like "superjail"
That said, shock can be used effectively, especially if its mixed in with other emotions. The execution of Eddard Stark is a good example of effective shock in a story that's already chocked-full f potentially "edgy" material, because no one expected him to die AND his death had serious emotional impact on other characters.
"Edge" is what happens when non-dynamic characters encounter constant shocking/offensive situations, and usually responding with "dark" humor or straight-faced cynicism. Essentially, "edge" refers to the idea that since shock CAN be effective in storytelling, a good story could logically be something that only tries to shock and offend the viewer.
As I see it, ways to avoid an "edgy" story, despite being dark
1. Have the character react dynamically to what's happening. don't just have a panzer-man stay a panzer in the face of all the violence he's used to. have him struggle with reality and grow as a person, either slowly becoming a panzer-man or trying to find what little good remains in the world
2. Pacing. if you have your villain rape some woman we've never met, it won't come as a shock when he rapes 3 women we've never met the next issue. to truly be unexpected (IE shocking) dark moments must be few and far between in a work that has some optimistic elements.
3. Slapstick. because, lets face it, edge is dumb. but if you embrace how dumb it is, you can get shit like "superjail"
