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A flashforward (also spelled flash-forward, and more formally known as prolepsis) is a scene that temporarily takes the narrative forward in time from the current point of the story in literature, film, television and other media.[1] Flashforwards are often used to represent events expected, projected, or imagined to occur in the future. They may also reveal significant parts of the story that have not yet occurred, but soon will in greater detail. It is similar to foreshadowing, in which future events are not shown but rather implicitly hinted at. It is also similar to an ellipsis, which takes the narrative forward and is intended to skim over boring or uninteresting details, for example the aging of a character. It is primarily a postmodern narrative device, named by analogy to the more traditional flashback, which reveals events that occurred in the past.

Literature

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John Keats’s poem Isabella, or the Pot of Basil (1818) proleptically anticipates the assassination of a living character by his lover's brothers.[2]

Another early example of prolepsis which predates the postmodern period is Charles Dickens' 1843 novella A Christmas Carol, in which the protagonist Ebenezer Scrooge is shown the future following his death. The subsequent events of the story imply that this future will be averted by this foreknowledge.

Terry Brooks' Word & Void series features a protagonist who, when he sleeps, moves forward and backward through time to before and after a great cataclysm. This is both analepsis and prolepsis.

Muriel Spark makes extensive use of prolepsis in her 1961 novel The Prime of Miss Jean Brodie.

In Boruto: Naruto Next Generations, the protagonist Boruto Uzumaki faces an enemy named Kawaki in a ruined Hidden Leaf Village in the opening scene of the anime and manga series. This is prolepsis.

Television

[edit]

Every season of Damages makes an extensive use of flashforwards, revealing the outcome of the season to the viewer. The whole season then revolves around discovering the circumstances that led to this outcome. For instance, the first season starts with a flashforward of the protagonist, Ellen Parsons, running in the streets of New York, covered in blood. Six months earlier, she was only a naive young woman who had just become a lawyer in the firm of a powerful attorney, Patty Hewes. What led Ellen to the situation presented in the flashforwards is revealed little by little throughout the season. The series is known for its misleading use of flashforwards, which are often examples of the red herring device.

After making extensive use of flashbacks in the first two seasons, the TV series Lost started using flashforwards as well throughout the remainder of the series. The first instance of this was a major plot twist in the third season finale: what appeared to be a flashback to before the characters were stranded on the island, was revealed at the end of the two-part episode to be a flashforward of them returned to civilization. A later episode featured what appeared to be flashforwards involving the couple Jin and Sun, showing them safely returned home and awaiting the birth of their baby, but it is then revealed that Jin's scenes were flashbacks and only Sun's were flashforwards (reflecting the fact that they are separated in time and space).

The series finale of Star Trek: Voyager, "Endgame", uses a technique similar to a flashforward. It depicts a future in which the U.S.S. Voyager has returned home after decades lost in deep space with various personal tragedies, prompting the ship's captain to use time travel to return to the timeframe of the series and return the crew home more directly.

The American sci-fi television series FlashForward revolves around everyone on Earth losing consciousness for 137 seconds, during which each person experiences a glimpse of events 6 months in the future.[3] The series was itself based loosely on the novel Flashforward by Robert J. Sawyer.

Flashforwards have been used in British soap operas as well. Hollyoaks flashed forward six months in May 2010 for a special episode.[4] Hollyoaks then had a flashforward to New Year's Eve 2020 to see the characters in a year's time. The BBC soap opera EastEnders featured a scene which flashforward to Christmas 2023 in an episode airing in the February of that year which triggered the start of "The Six" storyline where characters Linda Carter, Suki Panesar, Kathy Beale, Stacey Slater, Denise Fox and Sharon Watts look over the body of a deceased man, who is not revealed to the viewer,[5] the body was later revealed to be Nish Panesar, however he remained alive and instead Keanu Taylor was murdered by Linda shortly after the flashforward took place after attempting to strangle Sharon.

The last episode of Six Feet Under ends with an extensive flashforward depicting the deaths of all the central characters for several decades in the future.

Breaking Bad uses flashforwards throughout its second season showing a mystery regarding debris and corpses in Walter White's house and neighborhood, revealed to be the result of two planes crashing overhead. The first half of the fifth season begins with a flashforward one year into the future where Walter is fifty-two years old, and the second half begins with a continuation of the story, where he returns to his abandoned home. The plot of these flashforwards is resumed in the series finale.

Better Call Saul, a spin-off of Breaking Bad, follows a trend of starting each season with a flashforward scene, set after the events of Breaking Bad (and thus several years in the future relative to the time frame of the events narrated in Better Call Saul) and, apart from the flashforward in the final season premiere, shot in black and white. These scenes depict Saul Goodman's life after Breaking Bad as a fugitive of the law, working as a manager of a Cinnabon under a new alias. The plot of these flashforwards is resumed in the final four episodes of the series, which are also shot in black and white.

How to Get Away with Murder used flashforwards in every episode of scenes from future episodes until the ninth episode of the first season.

Quantico used flashforwards in order to unravel the future events that have occurred in the first and second season.

The Netflix series Elite used flashforwards to unravel the murder mystery of a future event, in the first season.

The Netflix series Quicksand used flashforwards to unravel the circumstances leading to a school shooting, in the first season.

The CW series Arrow utilizes flashforwards in its seventh season, having previously employed extensive flashbacks for its first five seasons. There are also flashforwards throughout the fourth season foreshadowing the character Laurel Lance's death.

Film

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Midway through the 1969 film They Shoot Horses, Don't They?, there is an abrupt flashforward when Robert, the character played by Michael Sarrazin, is seen being thrust into a jail cell by a police officer, even though he has done nothing to provoke such treatment. The audience is notified, later in the story, that Sarrazin's character would have indeed made choices that warrant his arrest.

The 2016 film Arrival relies extensively on prolepsis throughout, disguised as flashbacks (like the aforementioned episode of Lost). The main character gains precognitive ability after learning the language of the aliens, and proceeds to use it to prevent the outbreak of war. She uses information revealed to her 18 months in the future to convince a military leader not to attack the aliens in the present.

Video games

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In Until Dawn (2015), players may find artifacts left by the Native American tribe who lived on the mountain that show premonitions of possible future events. Whether they come true is dependent on player actions; for example, one shows another character's death in a scene that can be avoided.

See also

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References

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Flashforward

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A flashforward, also known as prolepsis, is a technique employed in literature, film, and television that disrupts the chronological sequence of events by depicting future occurrences before returning to the main timeline, often to outcomes or reveal potential consequences. This device contrasts with the flashback (or analepsis) by propelling the story forward in time, allowing authors and filmmakers to manipulate temporal order for dramatic effect. Flashforwards have been utilized since ancient times in epic narratives and prophecies, evolving into a staple of modern storytelling to build suspense, explore character arcs, or comment on causality. In literature, a classic example appears in Charles Dickens's A Christmas Carol (1843), where the Ghost of Christmas Yet to Come transports Ebenezer Scrooge to a vision of his own unattended death, serving as a proleptic warning that prompts his redemption. Similarly, Gabriel García Márquez's One Hundred Years of Solitude (1967) opens with a prolepsis in its first sentence—"Many years later, as he faced the firing squad, Colonel Aureliano Buendía was to remember that distant afternoon when his father took him to discover ice"—framing the entire multi-generational saga of the Buendía family through anticipated hindsight. In cinema and television, flashforwards enable complex temporal structures, as seen in Denis Villeneuve's Arrival (2016), where linguist Louise Banks experiences nonlinear visions of future events with extraterrestrials, recontextualizing the plot's present actions. The technique's versatility extends to genres like and , where it can represent literal time jumps, prophetic dreams, or hypothetical scenarios, enhancing thematic depth without resolving the narrative prematurely.

Definition and Concepts

Core Definition

A flashforward is a narrative technique in and other media that disrupts the chronological sequence of events by shifting the story forward in time to depict future occurrences. This device allows authors to present anticipated events, often serving purposes such as key outcomes, heightening , or illuminating character motivations and trajectories. Unlike straightforward linear progression, a flashforward temporarily transports the audience to a later point, providing insight into potential developments without resolving the immediate plot. Key characteristics of the include its role as a non-linear element that can manifest in various forms, ranging from subtle visions or dream sequences to more elaborate, self-contained episodes. These interruptions contrast sharply with the real-time advancement of the main , creating temporal disjunctions that engage readers by bridging present actions with future consequences. The technique relies on contextual cues, such as shifts in tense or descriptive markers, to signal the temporal jump and maintain narrative coherence upon return to the primary timeline. The for originates as a direct analogue to the "flashback," the more established device for depicting past events, but reoriented toward the . It draws from the classical rhetorical concept of prolepsis, derived from "prolambanein" meaning "to anticipate," which has been adapted in modern to denote anticipation of events. In structure, flashforwards vary from simple implementations, like a single prophetic utterance or brief glimpse embedded in , to complex constructions, such as an entire chapter or interlude fully realized in a setting before reverting to the present storyline. This flexibility allows the device to operate on different scales, from momentary teases that hint at destiny to expansive previews that reframe the entire arc.

Narrative Functions

Flashforwards primarily function as a tool for plot twists in narratives, allowing storytellers to hint at upcoming developments that reshape the audience's understanding of ongoing events. They also create dramatic irony by granting the audience foreknowledge of outcomes that characters remain oblivious to, thereby intensifying the emotional stakes as the plot progresses toward those revelations. Furthermore, flashforwards heighten tension through the anticipation of consequences, compelling audiences to scrutinize present actions in light of their projected repercussions. In addition, they facilitate the exploration of alternate futures or character arcs, illuminating potential trajectories that deepen insights into motivations and growth without resolving the main storyline prematurely. On a psychological level, flashforwards engage curiosity by teasing unresolved elements of the story, fostering a desire to uncover the path to those glimpses of the . This manipulation of —shifting focus from the immediate to the prospective—serves to deepen emotional investment, as viewers or readers form stronger attachments to characters through the lens of their impending fates. While such disruptions can initially disorient by fracturing linear expectations, they often clarify threads, enabling a more cohesive grasp of causal relationships and thematic undercurrents. Structurally, flashforwards integrate with plot pacing by interrupting the sequential flow of events, often to contrast current or past decisions against future ramifications, which alters the story's rhythm and builds layered complexity. This interruption advances the overall momentum while allowing for thematic analogies or contrasts that enrich the temporal framework without adhering strictly to chronology. Despite their utility, flashforwards carry common pitfalls, such as overuse, which can render the narrative predictable and erode suspense by telegraphing twists too early. In contexts of unreliable narration, they introduce ethical implications by potentially deceiving the audience with fabricated or subjective visions of the future, thereby questioning the integrity of the storyteller's perspective.

Historical Development

Origins in Literature

The earliest precedents for flashforwards in literature can be traced to ancient , where prophecies and oracles functioned as proto-flashforwards, offering narrative glimpses of future events to heighten dramatic tension and foreshadow outcomes. In Homer's and (circa 8th century BCE), such devices are prominent; for instance, the seer prophesies the Greek army's misfortunes in the Iliad, anticipating key plot developments like the plague and Achilles' withdrawal, while Tiresias' prophecy in the Odyssey foretells Odysseus' post-return trials. These elements, common in the , allowed poets to compress time and reveal divine foreknowledge, blending inevitability with heroic agency. By the , amid the Romantic and Victorian periods, flashforwards evolved into more explicit literary tools, particularly in novels serialized for mass audiences, where they served to build , deliver moral lessons, and hint at consequences in an era of social upheaval. masterfully integrated this technique in (1843), employing the Ghost of Christmas Yet to Come to propel into a vivid proleptic vision of his own unattended death and the indifference it provokes, urging personal reform against societal greed. Similarly, ' (1895) deploys as a structural flashforward, transporting the Time Traveller to a far-future world divided into decadent and brutish Morlocks, symbolizing the perils of unchecked class division. These instances marked a shift from mere to immersive future projections, enhancing thematic depth in prose fiction. The adoption of flashforwards in this period was deeply intertwined with cultural contexts of the , reflecting widespread anxieties over rapid technological progress, urban decay, and uncertain futures. Authors like Dickens and Wells used these devices to critique the dehumanizing effects of industrialization—evident in depictions of polluted factory towns and widening social rifts—warning of potential dystopias born from exploitation and moral erosion. In the early , further formalized flashforwards as a core strategy, influenced by fragmented perceptions of time and psychological realism, moving beyond Victorian to explore subjective uncertainty. This evolution is evident in experimental works that interwove prolepsis with stream-of-consciousness techniques, allowing authors to disrupt chronology and mirror inner turmoil. Innovations in the genre, such as those in Katherine Mansfield's short fiction, employed prolepsis to convey narrative authority over characters' futures, intensifying themes of and inevitability.

Evolution in Visual Media

The transition of flashforwards from literary origins to visual media began in the silent film era, where filmmakers adapted narrative techniques to convey future events through visual storytelling rather than text alone. In the and , silent films employed intertitles and montages to depict futuristic visions, marking an early adoption of the device to evoke impending societal changes. Films like Fritz Lang's (1927) depicted dystopian futures, influencing later uses of flashforwards to project visions of technological advancement and social upheaval as cautionary tales from the . Television used cliffhangers in the through episodic shows to heighten suspense and encourage viewer retention, aligning with the medium's live-broadcast format and limited production resources. By the and , serialized formats amplified narrative techniques like flashforwards, allowing them to span multiple episodes and explore ongoing narratives, particularly in science fiction genres that speculated on societal evolution; for example, (1966–1967) featured time travel to future eras. Technical innovations in editing significantly enhanced the execution of flashforwards across film and television. Early techniques like montage and dissolve transitions implied temporal connections between scenes, while voiceovers provided narrative bridges to introduce projected events without disrupting pacing. The rise of computer-generated imagery (CGI) in the 1990s and 2000s revolutionized complex future depictions, enabling seamless integration of digital environments and effects that portrayed intricate dystopias beyond practical sets' limitations. Post-World War II cultural anxieties, including nuclear threats and technological rapid change, influenced the prevalence of flashforwards in science fiction visual media by emphasizing dystopian futures as warnings. This shift reflected broader societal fears of , making flashforwards a key tool for critiquing potential trajectories in genres that dominated post-war cinema and .

Applications in

Key Literary Examples

In Kurt Vonnegut's (1969), flashforwards form a core element of the non-linear narrative structure, as protagonist Billy Pilgrim becomes "unstuck in time," involuntarily jumping to future moments such as his post-war life, on , and even his death. These jumps, intermingled with flashbacks, disrupt chronological progression to mirror the disorientation of war trauma, compelling readers to piece together events and experience time as fragmented and inevitable. Similarly, Margaret Atwood's (1985) employs a flashforward in its concluding "Historical Notes," a transcript from a 2195 academic symposium analyzing the protagonist Offred's recorded tale from the dystopian regime of , which ended over a century earlier. This device shifts perspective to a future society, revealing the regime's fall while underscoring the enduring scars of through ironic, detached scholarly commentary. A modern example appears in Colson Whitehead's The Underground Railroad (2016), where flashforwards manifest through speculative vignettes and alternate historical projections that leap ahead to envision the long-term consequences of slavery's horrors in reimagined American states. These temporal shifts transform the Cora's escape narrative into a broader on racial trauma, using future-oriented glimpses to speculate on unresolved historical injustices and their ripple effects across time. Across these works, flashforwards reveal themes of trauma and inevitability by juxtaposing personal suffering with predetermined outcomes, as in Vonnegut's Tralfamadorian that all moments coexist eternally, rendering human agency illusory amid war's devastation. In Atwood's novel, the future notes highlight the inescapability of patriarchal control's legacy, framing Offred's ordeal as a cautionary artifact whose pain persists despite regime collapse. Structurally, such devices impact reader interpretation by creating through foreknowledge, encouraging nonlinear rereading, and blurring past-present-future boundaries to emphasize fate's inescapability, thereby illustrating functions like building tension and deepening emotional . Flashforwards exhibit diversity in application across genres; in science fiction, Vonnegut and Atwood extend this technique through speculative time manipulation, as seen in Billy's involuntary leaps or Gilead's projected downfall, to explore existential and societal inevitabilities beyond mere plot propulsion.

Thematic Uses

Flashforwards in often serve to interrogate the tension between and , particularly in existentialist narratives where anticipated futures underscore the illusion of agency amid inevitable outcomes. In works employing non-linear time structures, such projections highlight philosophical conflicts, portraying characters' choices as constrained by larger forces, thereby critiquing deterministic views of human existence. This thematic role extends to social critique, where flashforwards reveal future societal breakdowns as consequences of present injustices, exposing structural inequalities and urging reflection on . In fantasy genres, flashforwards frequently manifest as prophetic visions that symbolize and renewal, envisioning triumphant resolutions to existential threats and reinforcing themes of destiny as a guiding force toward positive transformation. Conversely, in realist , they emphasize the personal ramifications of individual decisions, illustrating how mundane choices ripple into profound, often regrettable, life alterations without intervention. From a perspective, flashforwards align with narratological concepts such as prolepsis, defined by Gérard Genette as an anachrony that anticipates future events in the story, disrupting chronological order to enrich thematic depth in . Genette's framework in Narrative Discourse positions prolepsis as a tool for exploring temporal deviations, allowing authors to weave interpretive layers that question and foresight in construction. Thematically, flashforwards have evolved from 20th-century emphases on , where they evoked inescapable doom reflective of modernist anxieties, to 21st-century speculative orientations that project futures shaped by crises and technological disruptions, fostering themes of adaptability and urgency. This shift mirrors broader literary trends in cli-fi and , using forward leaps to critique environmental and digital while imagining paths to agency.

Applications in Film and Television

Film Examples

One of the earliest and most influential uses of flashforwards in cinema appears in Nicolas Roeg's (1973), where precognitive visions build by intercutting glimpses of impending with the present action, heightening the psychological tension surrounding a grieving couple in . These visions, often presented through fragmented and red color motifs symbolizing blood and danger, the protagonist's fate without resolving the linearly, a technique that influenced later thrillers. Similarly, Christopher Nolan's Memento (2000) inverts traditional chronology by structuring the main storyline in reverse while interspersing forward-moving black-and-white sequences, creating forward glimpses that disorient the audience and mirror the protagonist's , thereby challenging perceptions of cause and effect. In contemporary cinema, Denis Villeneuve's Arrival (2016) masterfully employs non-linear flashforwards to explore themes of , , and , revealing that scenes initially presented as flashbacks to the protagonist's family life are actually visions of her future, unlocked by alien communication. This structure culminates in a revelation that recontextualizes the entire film, emphasizing how reshapes temporal understanding. The film's innovative use of these elements earned it eight Academy Award nominations, including Best Picture and Best Director, with praise directed at its narrative ingenuity from critics who noted its emotional depth and philosophical rigor. Filmmakers employ various to integrate flashforwards seamlessly, such as visual motifs including fades to white or ethereal dream sequences that signal temporal shifts, often accompanied by altered like echoing audio or desaturated colors to distinguish future events from the present. Post-1990s advancements in digital editing software, such as Avid and Final Cut Pro, facilitated this integration by allowing precise non-linear assembly of sequences, enabling complex temporal layering without visible seams that plagued earlier analog methods. These tools have democratized the technique, making it a staple in modern blockbusters for building anticipation and thematic resonance.

Television Examples

In television, flashforwards adapt the literary device to serialized , where glimpses of future events unfold across episodes and seasons, building in episodic formats interrupted by commercial breaks. Unlike the compact arcs of films, TV flashforwards must sustain viewer engagement over extended narratives, often teasing outcomes in cold opens or season finales to bridge weekly airings or encourage streaming binges. This structure allows for intricate timelines that reveal character motivations and plot resolutions gradually, distinguishing television's multi-episode continuity from cinematic one-offs. The ABC series Lost (2004–2010) pioneered a prominent use of flashforwards in mainstream television, introducing them in the season 3 finale "" and expanding them throughout season 4. These sequences depicted the off-island survivors' lives three years after escaping the island, shifting from the show's earlier flashbacks to create mystery around how present events lead to those futures, such as Jack Shephard's desperate plea to return. This innovation refreshed the narrative after years of backstory reveals, earning acclaim for its pacing and emotional depth while challenging writers to connect disparate timelines without alienating audiences. Hulu's (2017–2025), adapted from Margaret Atwood's novel, incorporates flashforwards sparingly but effectively to extend the source material's dystopian visions into an ongoing serialized plot. While primarily using flashbacks to detail Gilead's rise, the series employs future-oriented glimpses—such as June Osborne's imagined escapes or post-Gilead scenarios in later seasons—to heighten tension and explore themes of resistance across episodes. This adaptation suits television's format by weaving potential futures into character arcs, allowing the narrative to evolve beyond the book's endpoint while maintaining episodic momentum through cliffhangers tied to those visions. In more recent developments, FX's miniseries (2020), created by , utilizes quantum-themed flashforwards through a technology that visualizes deterministic futures and possibilities. Characters like Lily Chan experience these visions as interactive previews of inevitable or branching paths, driving the plot's philosophical inquiry into within an eight-episode arc. The streaming release amplified this approach, enabling viewers to binge and unpack the nonlinear revelations without weekly gaps disrupting the temporal complexity. Television's episodic structure presents unique challenges for flashforwards, including maintaining viewer retention across seasons amid commercial interruptions and the risk of confusion from fragmented timelines. Series like Lost and FlashForward (2009–2010) struggled with weekly broadcasts, where delayed resolutions to future teases led to declining audiences if mysteries felt unresolved, though season finales often used flashforwards as hooks to boost renewal chances. In contrast, streaming platforms mitigate these issues by facilitating immediate follow-up viewing, but overreliance on time-hops can still overwhelm, as seen in critiques of shows blending past, present, and future without clear signposting. Flashforwards significantly influence audience behavior, particularly in serialized TV, by fostering to resolve teased futures and sparking cultural debates on spoilers. In Lost, early flashforward reveals prompted online forums dissecting how present actions aligned with off-island scenes, enhancing fan engagement but also frustrating casual viewers wary of plot giveaways. Similarly, 's global blackout visions were better suited to binge formats, where continuous viewing clarified interconnections that weekly episodes obscured, ultimately driving higher completion rates on streaming reruns. These elements cultivate discussions around narrative trust, with flashforwards often positioned as deliberate "spoilers" that reward dedicated viewing in an era of on-demand access.

Applications in Other Media

Video Games

Flashforwards in video games represent a narrative technique where players encounter glimpses of potential future events, often intertwined with interactive elements that allow agency to influence or reinterpret those visions. Early examples include (2000), where dialogues foreshadow global conspiracies and the protagonist's role, creating a sense of inevitable yet player-alterable destiny through branching choices in a . These elements heighten tension by blending foreknowledge with , as players' decisions in stealth, , or can diverge from the hinted outcomes, emphasizing themes of and control. A more explicit use of timeline jumps appears in BioShock Infinite (2013), where the character Elizabeth's ability to open "tears" in reality reveals possibilities, including flashforwards to alternate futures that inform the protagonist Booker's path through the floating city of Columbia. These visions serve narrative functions like exploring versus , adapted to interactivity by allowing player actions to collapse or expand timelines, such as choices that alter which futures manifest. In virtual reality, Half-Life: Alyx (2020) employs flashforwards through the enigmatic G-Man's interventions, showing protagonist a vision of her father's impending death to recruit her, which players experience immersively via VR mechanics that enhance the disorienting shift between present and future. This design leverages VR's spatial agency, where physical interactions ground the surreal temporal jump, challenging players to reconcile the vision with ongoing resistance against the Combine. Modern titles like (2021) integrate looping flashforwards directly into gameplay, where protagonist Colt Vahn relives a single day on the island of Blackreef, using knowledge from prior loops—effectively player-gained previews of future events—to assassinate targets and break the cycle. This mechanic ties player agency to narrative progression, as choices in , , or alliances across loops dynamically reshape anticipated outcomes, balancing with risk. The interactive uniqueness of flashforwards in games lies in how choice-based narratives can alter or fulfill these visions, posing design challenges like avoiding spoilers that undermine agency or ensuring temporal consistency without railroading player control. Developers must calibrate to empower experimentation, as overly rigid futures can erode immersion, while flexible ones amplify replayability and thematic depth on fate. Post-2010s industry trends show a rise in indie games employing flashforwards for psychological horror, where brief future glimpses amplify dread and introspection. For instance, Just Ignore Them (2017) uses a flashforward to depict the protagonist's haunted adulthood, framing childhood choices that influence lingering traumas and monstrous encounters. These titles, often constrained by smaller budgets, innovate with minimalist mechanics—like text-based decisions or looping vignettes—to explore mental unraveling, prioritizing emotional impact over spectacle and allowing player agency to reinterpret horror through personalized outcomes. Recent examples include Alan Wake 2 (2023), which uses meta-narrative flashes to future events in its psychological thriller structure, blending live-action and gameplay to heighten suspense around writerly destiny.

Comics and Graphic Novels

In sequential art, flashforwards serve as a powerful narrative device to disrupt linear , allowing creators to foreshadow consequences, explore alternate outcomes, and heighten tension through visual . Unlike , leverage panel sequencing and artistic elements to make these temporal shifts immediate and visceral, often blending present action with glimpses of dystopian futures or resolved conflicts. This technique has been particularly effective in graphic novels, where the static medium paradoxically simulates motion and inevitability, drawing readers into a between now and later. Notable examples include Alan Moore's (1986), which employs nonlinear storytelling to underscore themes of impending doom and moral ambiguity through structural jumps that imply future catastrophe. Similarly, Neil Gaiman's series (1989–1996) integrates dream visions as flashforwards, where characters like Dream (Morpheus) reveal prophetic futures through surreal, oneiric sequences that blur reality and foresight, enhancing the mythological scope of human destiny. These works demonstrate how flashforwards in comics not only advance plot but also critique societal trajectories, using fragmented timelines to mirror fragmented psyches. Graphic novel innovations further expand flashforward applications, as seen in Moore's (1982–1989), where visions of a liberated post-fascist Britain serve as allegorical flashforwards, symbolizing the potential triumph of over tyranny and critiquing Thatcher-era politics through imagined revolutionary outcomes. Post-2010, digital comics have introduced interfaces to enhance pacing in temporal shifts, enabling seamless jumps to future scenes in formats like Marvel's Infinite Comics, where motion effects create fluid transitions between timelines. These advancements allow creators to experiment with pacing, making flashforwards feel dynamic even in non-interactive media. Visual techniques amplify the impact of flashforwards in , with panel layouts often simulating time jumps through irregular grids or overlapping frames that compress or expand perceived duration, guiding the eye across eras in a single page. These methods, rooted in the medium's , enable precise emotional calibration, turning abstract time manipulation into tangible reader experience. In genre applications, flashforwards prevail in to recontextualize origins, as in DC's The Flash series where speedster narratives use future glimpses to reverse-engineer heroic backstories, revealing how past choices ripple into multiversal threats and reinforcing themes of legacy and redemption. Autobiographical graphic novels, meanwhile, employ flashforwards for thematic depth, projecting personal growth or unresolved traumas into hypothetical futures to explore identity fluidity, as evident in memoirs that interweave present reflections with envisioned outcomes to convey resilience amid adversity. This approach distinguishes ' introspective potential, prioritizing psychological insight over spectacle. Recent works like The Department of Truth (2020–ongoing, as of 2025) use flashforwards to conspiracy-laden futures, questioning reality and belief systems through temporal disorientation.

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  33. https://www.nytimes.com/1973/12/10/archives/filmdont-look-now-a-horror-taledonald-sutherland-and-julie-christie.html
  34. https://www.jstor.org/stable/10.5406/jfilmvideo.71.4.0029
  35. https://www.hollywoodreporter.com/movies/movie-news/how-arrivals-editor-handled-a-movie-free-narrative-956219/
  36. https://www.denofgeek.com/tv/lost-season-4-episode-1-review-2/
  37. https://www.syfy.com/syfy-wire/tca-2020-alex-garland-devs-fx
  38. https://www.bostonglobe.com/2021/03/18/arts/flashbacks-flash-forwards-are-latest-trend-giving-tv-viewers-headache/
  39. https://www.denofgeek.com/tv/why-flashforward-was-ahead-of-its-time/
  40. https://www.forbes.com/sites/insertcoin/2013/03/27/an-attempt-to-understand-bioshock-infinites-brilliant-and-bizarre-ending/
  41. https://www.gamedeveloper.com/game-platforms/bioshock-infinite-is-a-metacommentary-on-game-narrative
  42. https://www.pcgamer.com/we-need-to-talk-about-the-ending-of-half-life-alyx/
  43. https://80.lv/articles/arkane-studios-shared-how-a-time-loop-influenced-deathloop-s-narrative-design
  44. https://researchdiscovery.drexel.edu/view/pdfCoverPage?instCode=01DRXU_INST&filePid=13321503700004721&download=true
  45. https://dl.acm.org/doi/pdf/10.5555/2812774.2812780
  46. https://steamcommunity.com/id/DeathlessVoid/recommended/561770
  47. https://www.ign.com/articles/alan-wake-2-review
  48. https://www.hoodedutilitarian.com/2015/12/analyzing-comics-101-layout/
  49. https://www.cbr.com/marvel-sxsw-quesada-opens-the-all-digital-infinite-comics/
  50. https://www.clipstudio.net/how-to-draw/archives/160963
  51. https://imagecomics.com/comics/series/the-department-of-truth
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