Composing the Trilogy: Part 2
Welcome to the second part of Composing the Trilogy. At this point, you should have used the first part to establish your characters, plot, rules, and initial universe. Now, you work on continuing the story you set up, as well as expanding the characters and unversed you’ve started.
Keeping the Flow
The main goal of the second entry of a trilogy is to show growth and development. There are many ways to do this- for example, the conflict of the previous story can be expanded upon. This is seen in Back to the Future, which moves from ensuring Marty’s creation in the past, to his success in the future and then maintaining the present. This opens up different goals and conflicts while staying true to the central themes and idea present in the first entry. However, new conflicts can also be introduced. Most superhero films have a rotating cast of villains and when done well, they can add to the hero’s development. The Sam Rami Spider-Man films do a fine job of, as Peter has personal connections to his first villain, Norman Osbourne/The Green Goblin. However, in the second, he ends up in a similar conflict with Otto Octavius/Dr. Octopus. But in this case, Peter has a stronger connection with Otto, have befriended him beforehand, and is even able to redeem the villain at the end. Better still, Peter is able to use that redemption to solidify his own character growth and development. Finally, character is also a valuable way to show development, as in Godfather Part II which shows Michael Corleone’s abandonment of his young, moral self and his tragic move into crime and the Mafia.
Another use of the second entry is to raise the stakes, and make things bigger then they were in the first movie. Examples can be seen in The Two Towers, where the quest of returning the Ring becomes more perilous- Mordor is closer, evil is spreading across the land, and people are suffering. Star Wars also does this, as Empire Strikes Back shows the tribulations of the suffering rebellion and Luke Skywalker’s Jedi training. But this also opens up another possibility- adding more dark elements. This can help to make the story more memorable then the often lighter first act, as well as build excitement for the next entry. To again quote Empire, the film ends with the loss of Luke’s hand and the revelation of his parentage, Han Solo frozen in carbonite and in transit to Jabba the Hutt, and a reeling Rebel Alliance. The stakes are high for the sequel (which despite the teddy bears, managed to meet them).
In conclusion, the second entry must be about expansion, either through characters, the outside world, goals, or a combination of the three. Any less simply makes it an imitation of the first. But as Amazing Spider-Man 2 taught us, making everything bigger cannot override the story or the characters; writers must balance spectacle with storytelling, or they can never reach the final entry.