You may even take a moment to explore the ultimate fate of the antagonist if they survived the Climactic Moment. However, just as I mentioned in the last post on the Climax and Climactic Moment, you don’t want your Resolution to drag on too long. If you’re forgotten, catharsis is a term for “inner purification” in ancient Greek storytelling, and it’s the primary goal of your Resolution. There is no dialog in these scenes, and little “plot” actually happens. Kaitlin decided to make her cookies to make her feel better during this difficult time. They’re complex, flawed, and powerful in a way few character are—they are powerful people not because of brute strength, but thanks to their strength of will, patience, kindness, and dedication. It’s not the same scene by a long stretch, but it takes key elements of Han’s introduction and flips them on their head, showing how far he’s come. With the resolution added, we know what will happen to Madison and Kaitlin and we feel that the story has truly ended. Even despite this though, I still think Nausicaä’s themes of war and environmentalism are well served by the worldbuilding of the story, even if they aren’t by the characters. We’ve used the term foil previously in this series to describe characters that act as mirrors for the protagonist—a foil scene works in much the same way. However, I would argue that Nausicaä’s Resolution still works, for a few key reasons. Ideally, the Resolution will only be one or two, meant to wrap up your story and deliver a final message. It follows Nausicaä and her village as they welcome the surviving Pejites to live alongside them. Han begins his story isolated in a dark corner of the Cantina. Well, as always, it comes down to your plot and characters. Thematically, Mulan deals with issues of self-worth and how to survive in a world that devalues you. It appears to both Mulan and the audience that she’s about to be punished, once again looked down on for being a woman “out of her place.” However, at the last moment the Emperor praises her, recognizing her achievements and rewarding her with the offer of a job, as well as with the Emperor’s crest and the sword of the now defeated Hun leader. Of course, this isn’t true of negative arc characters. Think of your character’s life and adventures after your particular story ends and use these to set things up should a sequel ever arise. It also directly highlights his character arc, going from selfish and alone to selfless and surrounded by community. Seeing her go from anxious and lost, sitting on the bench beside her father as he tried to comfort her, to proud and strong, finally returning home, rouses a deep sense of pride in the audience’s hearts. Han begins his story isolated in a dark corner of the Cantina. For example, revealing the identity of the murderer, or the dying of a terminally-ill protagonist, are resolutions. Create an ending for the story. For example, consider this story: Story: Madison was very sick and Kaitlin wanted to visit her in the hospital. The resolution is always found at the very end of a story. A resolution can occur at any point during the story, though it usually comes at the end. The importance of the wind, of community, the Ohm, and the role of the Toxic Jungle are all touched on in this scene. This reinforces the importance of their victory, all while making their journey feel worthwhile and—most importantly—cathartic. Basically, the goal is to imply a life beyond the confines of your story, a living, breathing world that will continue long after your reader closes the back cover. This is fairly in line with other Disney movies from that time—most of them deal with similar themes of being an outsider or otherwise constrained by society. Here you need to show how your characters have ended their journey and what effects their success or failure will have on the world they live in. It’s often bittersweet, but also oh so important. Madison was very sick and Kaitlin wanted to visit her in the hospital.