Category: Caprinda Worldbuilding

Caprinda: Actor & Stagehand Theory

A strange phenomenon which can be analyzed throughout all the realms and timelines of this reality is the prevalent presence of one particular theory. One which consistently manages to exist throughout countless worlds which have taken countless developmental paths. One which attempts to explain the various conveniences of existence. If we were to use Aztarna as an example, this theory would explain how a handful of aligned families were able to discover and keep magic hidden from the rest of their world. It would explain how only three heroes were able to fend off and defeat a constantly building army of Demons. It would explain how one time-displaced girl was able to reach the fated moment of her ultimate battle the second time despite dreadful odds. 

This is actor and stagehand theory, a thesis which suggests that certain individuals have a supernatural importance which allows them to become part of unbelievable and unlikely stories. These are the ‘actors’, the ones fated to be central components in an unseen narrative. Seemingly immune to the world around them as they are led to key moments of not just their lives but of the world around them. They can overcome any hardship and survive any battle to fulfil their role, whatever that role might be.

Anyone who isn’t an actor is a ‘stagehand’ who exists, as the title suggests, to set the stage for the next actor who comes along. They are the background characters whose primary role is simply to fill in what would otherwise be blanks in the world around them. At times, stepping stones to aid in the elevation of an actor. Their relative insignificance means their lives can be ruined or taken on a whim, though the chances of them doing the same to an actor is excruciatingly low. It is a fearful thing to be a stagehand, ever at risk of becoming a nameless casualty in an actor’s story.

Although, the status of one being actor or stagehand is not static. Actors are not invincible and, despite having a supposed hand of fate which guides them, can still go off of their intended path. It bears reiterating that there are no gods in this reality, thus a concept like fate should be controlled by the individual. If that individual is too foolish or reckless then they very well might fail to fulfil their role. Conversely, any stagehand has the potential to spontaneously enter a greater fate and become an actor. This becomes very likely if they have any significant interaction with one who is already an actor, which can range from bonding with to killing them. 

Of course, there is no obvious sign from which one can tell who is an actor and who is a stagehand. The whole idea is only a theory, after all. One can only assume who falls into one criteria and who the other as the significance one might have to fate can only be known after it has passed. This does not stop those who know of the theory striving to become the actors and achieve greater significance in their existence. This is, in part, why the superhero culture of Aztarna came to pass, as those heroes theoretically put themselves in a prime position to take centre stage.