For me, the premise of a good story is one that is only made through the association of its characters. You don’t have to like them, or loathe them for that matter, but you must be able to understand their motives, mind sets and reasoning, if you are to be able to connect and feel emotion on their behalf.
You can’t root for the underdog if you’re unable to understand why the character has so little expectation to triumph. No more than you can truly despise a villain if you’re unable to understand why the villain is a fiend. More importantly, you can’t join the journey of a character if they transcend initial definitions or stereotypes. How good becomes bad, divine becomes evil, if their motivations change, the value of redemption or the price of damnation. Instead, one simply follows along, disengaged and ultimately disinterested.
I think, especially in film, where many fantastic stories are sometimes told without any real character development, a great story can become a narrative where the audience themselves are allowed to be nothing more than mere spectators.
The premise behind HeroPlot is inherently simple. The world, as we know it, must change, yet a dystopia itself is uninteresting; it is simply the means to present and challenge the characters in an environment where extraordinary things are forced to occur in order to either motivate their exceptionality, or to leave them wanting.
In HeroPlot, it was important for me to depict a global shift that was based upon a potentially believable scenario, out of which future unbelievable characters can emerge. The journey of a handful of characters from one reality to another, is then juxtaposed by the need to help the reader see beyond the incredulity of any new characters, and to make them believable, no matter how unbelievable they may seem in our current reality. That in itself, is I believe, the basis for the concept of any Multiverse.