Prologue.
The philosophy of epicism was derived from an objective disdain of insignificance and the pitiful existence idolized in our paradigm. To be an obediant citezen who has sought endlessly to pursue which is palatable, and elude the truth which would disclose tupon them a higher mental state, and the ability to think with the brain.
On Epicism.
The writing philosophy of epicism is concieved to articulate and draft compelling stories which are in the absolute opposition to personable characters, character-driven stories, and implicit themes, alongside the rejection of symbolism, all of which constitute an entirely irrelevent disposition in stories. The aforementioned facets of insignificant stories are rudimentary, and appeal to the abhorrent heart-thinkers who are far too preoccupied with simplistic notions of Great Man Theory to truly recognize the true nature of history, macro-history, and greatness, ergo those whom fixate on personable characters, deriving orgasmic bliss from their parasocial fetish, are typically unfit for governance, though inhibitions would not exist if they pursued governance, though it is unlikely due to their mental apparatus, which we ascertain to be most obfuscated by The Waitress and Harry Potter. It is an idigtment of the entire Western world that we fixate on the fleeting personable character, as opposed to the eternal history of a world, which ought to hold primacy above the insignificant personablism. I find those who proclaim the supremacy of Citezen Kane or The Waitrss to be the trite laggards so desired by our post-WW2 liberal clerics and primates who've overrided the West and her institutions. In epicism, there is the utmost fixation on a story for it's own sake, an idea, a concept, which is not inhibited nor impeded upon by such notions as "implicit themes" or "symbolism". Instead, in an epicist story, any messages conveyed are entirely explicit, exemplifying failures, victories, and ramification, whilst equally concieving story without meaning beyond the virtue of entertainment. Entertainment itself is quality. A story must focus on the grand humanity and macrohistory, ideally set within space, as space is the most significant plane of the material world. I detest the hero's journey, as one hero inherently cannot exist in any significant capacity, as history is contextual, and even the greatest general needs his army. Thus, a hero's journey is wrong and insignificant. Another great facet of epicism is the grand scale, which is virtuous. Buildings so great they may distort a planet's gravity, landscapes so vast they are virtually infinite, and politics and battle so great, their consequences echo for millenia. It is, what I find, to be the utmost of necessity that the story exist for it's own sake, that a story is not obfuscated by this or that nonsense, and is instead a grand epic above all. The term "epic" has been egregiously misused by our contemporary media. City of God is not an epic, because it isn't grand, great, vast, or formal, as epic's are, and thus the remedy is epicism, the writing philosophy of grandeur and vast expanses. I find this misuse to be reprehisble. An epic would be Krull, Transformers: Dark of the Moon, The War Lord, or otherwise. Whenever I have watched The Waitress, I find myself questioning, beholding the film to scrutiny as I internally inquire "why does this matter?" and "why should I care? This isn't Rosemary's Baby.". Now, I do believe epicism is negated by comedy, and is inapplicable, however, the philosophy is intentionally inapplicable to comedy, as comedy exists exclusively to relate and induce laughter, as opposed to raw entertainment or explicit messages in an epicist story. I feel the fixation on personable characters and character-driven stories is an admission of poor intellectual prowess, and being unable to comprehend great histories. The characters in an epicist story are of two archetypes: the lone watcher and the driver, with the former being the eyes of the audience to explore a vast world, or at least a fraction of it, while the drivers are impersonal, being grand characters who are only differentiated by their names and actions from other driver characters, with drivers being individuals such as clerics, priests, monarchs, generals, plutarchs, et cetera, those who may act as the face or catalyst, to some extent, of events. Watchers are not personal either, merely being the eyes which the world is percieved, with watchers being undeveloped, as the world bombards the watcher with information and exposition to be revealed. Epicism is a philosophy which is anti-contemporary, entailing that any current events are never to be spoken of, and epicist stories are to exist as standalone universes which are not directly contiguous to current events. Epicism, as a philosophy, rejects any and all forces outside of humanity, particularly any notion of extraterrestrial life, which is incompatible with the epicist philosophy. Religion itself is important in epicism, though no contemporary religions, instead, constructed religions are far more important, though epicist storie are not to be supernatural, rather, when applicable, fixating on organized religions and the matters in which they behold society, though this is equally applicable to secular forces of state and military.