Yeah, so. Went out for a nice little walk with Luna, figured... it would be great. You know, we could pass the time together without violence, we could just take this happy little walk and it would all be just real great. Happy times. Nice times. Fun times.
So we're out walking. Everything's going well, and then Luna sees this big log. And she tells me she's going to pick it up and throw it. Well, I figured I'd just go along with it so I smile and nod and indulge her, and she... grabs this stupid log, and slings it into the air with just her front hooves. Now for one thing it goes way higher than expected. But then it comes back down.
Guess who gets hit by it.
Yes. Me.
So this log falls out of the sky and hits me and turns out to be rotten. Which is good because it was soft. Which is bad because I'm now covered in gooey tree goo splinters. Which is really bad because of all the goddamn stupid ass bugs in the goddamn stupid ass rotten log.
So I'm covered in log, bugs, some kind of... fungus... and Luna's chortling away. I'm also dazed and confused and it's unfortunately not due to really good drugs but being bashed over my head by a freaking tree that Luna flung into the freaking air.
This, from a quiet walk in the woods. Anyway, eventually Luna. Helped me clean up. Eventually. And now here I am back at home, wrapped in a blanket, covered in swelling because hey guess who's apparently allergic to whatever the hell bit the crap out of me.
Luna's still laughing at me.
This is life. Great. This is life.
~Scrivener Blooms
Saturday 29 December 2012
Characterization, Part III: Good Guys
Or, protagonists. Protagonists is a much better word but I'm trying to stick to my theme of keeping things simple, and I don't want to get into too much... you know. Super-complex territory. But let's take a look at our hero, who usually serves as the main character. There are many different types and subtypes, but... no, I'm repeating myself now. I do that a lot, bad habit.
This won't be quite as complicated and probably not as long as the bad guy post. I already gave the reasons for that, sort of, and also because... no matter where the 'hero' falls, he almost always has to be relatable, likable, or both. You have to have the audience rooting for him at least a large portion of the time, especially if he - or she, or she, don't give me that look, Luna - is central to the story in some way or another. Yes, there's stories where you have a main character you hate, and yes, there's plenty of ways to work around having a loathsome or even unoriginal main character but still keeping the story interesting. But. I'm not going to deal with any of that here. I'm just going to give a few general good guy archetypes.
The Heroic Hero:
No, I'm not changing that title. But this is your basic all-around good-guy Good Guy. He's brave, strong, probably sensitive, usually emotionally-connected to the world around him, people often end up liking him. Basically this is that bastard who rolled like five perfect 20s during character creation. Not to say he's good at absolutely everything, or is lacking flaws or weaknesses, but he has the tools to conquer those weaknesses and usually does so, one way or another.
This is an archetype particularly popular in simpler stories meant for foals/"young adults." He's a good guy. He's happy, he's strong, but his background usually makes him out to be surprisingly normal: if it's not normal, then instead he's "surprisingly normal in spite of A: being born into a happy comfortable life or B: living in suck for so and so long." He's a common character design used to appeal to the reader by saying: "hey, this guy is normal, you're normal, he's just like you." Or, if you want to get really analytical and cynical: "this character is designed so that the reader can live vicariously through them, pretending they are or could become just like this character, pulling them in to the reading experience solely so they can escape their own less-satisfying life."
Or maybe that's just me.
The Heroic Hero can be either simple to use, or pretty complex. The real art to defining and manipulating this kind of character isn't so much in getting him through the adventure, it's making him believable and keeping him properly balanced. He has to get through the situations he's plunged into realistically, without being saved too many times or winning too often through luck.
The Dark Knight
I'm not taking back that reference. You can't make me take back that reference. Furthermore, it's very fitting for the character type. This is the kind of hero that usually focuses on being a little more tragic, and a little more action-oriented. She - I may or may not be thinking a little more of Luna here - will do whatever it takes to get the job done, and doesn't care if she has to get her hooves dirty in order to do so. That doesn't mean she's a dictator: negotiation and diplomacy are still good tools, even if she often throws in a little coercion and intimidation. But when those stop working so well or start taking too long, here comes the thunder.
This character is usually a little maladjusted, and harder to relate to in some ways... but they often have something about them that makes you wish you could just. Hug away all their problems, or that makes you say "I wish I could be like that, minus the constant bleeding wounds and massive psychologist bills." They also often have the excitement factor on their side: their adventures usually take them into darker or more mysterious territory, or facing off against nastier villains.
Of course, this type of hero cannot be without flaws, considering the standard role of the protagonist. Their depiction must also be done carefully: otherwise, you won't create a Dark Knight, you'll simply create a bully, who walks around ruthlessly tormenting her enemies. Her driving motivation must be clear and concise, or that might contribute to making her harder to relate or like even more than if she regularly broke people in half just for talking back to her. After all, if she enjoys beating people to mush, then why would she just beat the bad guys into mush instead of grabbing whoever's closest and pummeling them? For this reason, she requires more development than the Heroic Hero, who can basically just walk in one day and say, "hey, I'm here to save the day."
The Dark Knight is very popular, but is harder to pull off believably. She suits a darker world and heavier atmosphere, and stories that are meant to be more intense, action-oriented, or follow more serious themes. I know I say this for everything, but character development is key: don't forget to emphasize the flaws and personality of this kind of character, it can be what forms the saving grace between someone utterly unlikable and someone you can't help but want to read more about.
The Antihero
What, Scrivener used an actual literary term instead of pretending he's really smart by making up his own? Impossible.
Luna says I'm getting too into this blogging thing. But now she's just staring over my shoulder because I told her this one is the one that reminds me most of her. I feel her giving me the benefit of the doubt, but ever since she saw that "anti-" next to "hero" she's been readying her horn to stab me. So. I had better continue. Yes, dear, continuing.
The Antihero is a protagonist who does not exactly fall under the category of hero, but, and let me emphasize this, is not a villain. Horses of Heaven I don't know how often I've seen those compared incorrectly. The Antihero is not the "bad guy." Yes, Luna, I know I repeated myself but it was important.
Antiheroes are usually dark, tragically-flawed, and don't often win at the end of the day. They don't usually have much in the way of morals, or something's happened to them that's made them... perhaps a little twisted. They are outsiders... but not necessarily someone you can't relate to or even dislike. Maybe you're a little scared of them, but there's often a dark kind of admiration there. Maybe they're the kind of person you wouldn't want to meet on a sunny day, much less in a dark alley, but at the same time you can't help but be fascinated by their story.
What's important to remember is that you can make them sympathetic, you can make them hurt by others, maybe even justified in how they feel... but they cannot be shown as your standard 'Good Guy.' I know, I know, I said I was sticking with 'Good Guy' archetypes for this, but then I realized this one was important to cover too and it lets me kind of round off with 'Good, Neutral, Evil,' if you get what I'm saying. An Antihero, again is not a hero, any more than he's a villain. He's an Antihero. Fine, Luna, she's an Antihero. And even if she gets what she's after, she still ends up cast out by society, she still pays a heavy toll for her victory. Or maybe her victory even costs her more than being defeated would have.
But at the end of the day, they haven't just done evil: whether or not they're responsible for how the story begins or where they end up, they almost always have done something wrong, and they continue to do wrong, to tread on the wrong side of the moral line even while doing right. And even when they try and make up for their mistakes, sometimes things still go to hell all the same. Metaphorically or literally. Their sins must be dominant, not their virtues. Their flaws must rule them, and even if they're strong or smart, they still have to possess a failing, even if that failing is disguised as a strength. And redemption for what they have become does not come cheaply, if at all.
This is a difficult character to do true justice to, and a major part of the reason for this is that they don't usually get happy endings. And when you get attached to a character, it can be hard, hard as hell to let them go, or to put them through things that will leave them permanently injured, permanently changed. Even if it's for the better, not the worse. On another level, this character is difficult to work with because you have to keep in mind that they can't have too many qualities of either good guy or bad guy... they have to skirt somewhere down the center, and at the same time, you have to make sure they're still interesting enough to read about even when they're doing things that you normally don't want to read about the good guys in a story doing, such as harvesting body parts.
That's about all for today. Three character types and I definitely did not stick to plan. Hopefully some of it is useful. Remember, it's all just broad generalizations, and nonspecific examples. The best way, once more, is to write stuff for yourself. The more you write, the more you work with characters, the better you're going to get at it. Just reading will leave you confused, until you begin to try and put these archetypes into action for yourself, and start to see
This won't be quite as complicated and probably not as long as the bad guy post. I already gave the reasons for that, sort of, and also because... no matter where the 'hero' falls, he almost always has to be relatable, likable, or both. You have to have the audience rooting for him at least a large portion of the time, especially if he - or she, or she, don't give me that look, Luna - is central to the story in some way or another. Yes, there's stories where you have a main character you hate, and yes, there's plenty of ways to work around having a loathsome or even unoriginal main character but still keeping the story interesting. But. I'm not going to deal with any of that here. I'm just going to give a few general good guy archetypes.
The Heroic Hero:
No, I'm not changing that title. But this is your basic all-around good-guy Good Guy. He's brave, strong, probably sensitive, usually emotionally-connected to the world around him, people often end up liking him. Basically this is that bastard who rolled like five perfect 20s during character creation. Not to say he's good at absolutely everything, or is lacking flaws or weaknesses, but he has the tools to conquer those weaknesses and usually does so, one way or another.
This is an archetype particularly popular in simpler stories meant for foals/"young adults." He's a good guy. He's happy, he's strong, but his background usually makes him out to be surprisingly normal: if it's not normal, then instead he's "surprisingly normal in spite of A: being born into a happy comfortable life or B: living in suck for so and so long." He's a common character design used to appeal to the reader by saying: "hey, this guy is normal, you're normal, he's just like you." Or, if you want to get really analytical and cynical: "this character is designed so that the reader can live vicariously through them, pretending they are or could become just like this character, pulling them in to the reading experience solely so they can escape their own less-satisfying life."
Or maybe that's just me.
The Heroic Hero can be either simple to use, or pretty complex. The real art to defining and manipulating this kind of character isn't so much in getting him through the adventure, it's making him believable and keeping him properly balanced. He has to get through the situations he's plunged into realistically, without being saved too many times or winning too often through luck.
The Dark Knight
I'm not taking back that reference. You can't make me take back that reference. Furthermore, it's very fitting for the character type. This is the kind of hero that usually focuses on being a little more tragic, and a little more action-oriented. She - I may or may not be thinking a little more of Luna here - will do whatever it takes to get the job done, and doesn't care if she has to get her hooves dirty in order to do so. That doesn't mean she's a dictator: negotiation and diplomacy are still good tools, even if she often throws in a little coercion and intimidation. But when those stop working so well or start taking too long, here comes the thunder.
This character is usually a little maladjusted, and harder to relate to in some ways... but they often have something about them that makes you wish you could just. Hug away all their problems, or that makes you say "I wish I could be like that, minus the constant bleeding wounds and massive psychologist bills." They also often have the excitement factor on their side: their adventures usually take them into darker or more mysterious territory, or facing off against nastier villains.
Of course, this type of hero cannot be without flaws, considering the standard role of the protagonist. Their depiction must also be done carefully: otherwise, you won't create a Dark Knight, you'll simply create a bully, who walks around ruthlessly tormenting her enemies. Her driving motivation must be clear and concise, or that might contribute to making her harder to relate or like even more than if she regularly broke people in half just for talking back to her. After all, if she enjoys beating people to mush, then why would she just beat the bad guys into mush instead of grabbing whoever's closest and pummeling them? For this reason, she requires more development than the Heroic Hero, who can basically just walk in one day and say, "hey, I'm here to save the day."
The Dark Knight is very popular, but is harder to pull off believably. She suits a darker world and heavier atmosphere, and stories that are meant to be more intense, action-oriented, or follow more serious themes. I know I say this for everything, but character development is key: don't forget to emphasize the flaws and personality of this kind of character, it can be what forms the saving grace between someone utterly unlikable and someone you can't help but want to read more about.
The Antihero
What, Scrivener used an actual literary term instead of pretending he's really smart by making up his own? Impossible.
Luna says I'm getting too into this blogging thing. But now she's just staring over my shoulder because I told her this one is the one that reminds me most of her. I feel her giving me the benefit of the doubt, but ever since she saw that "anti-" next to "hero" she's been readying her horn to stab me. So. I had better continue. Yes, dear, continuing.
The Antihero is a protagonist who does not exactly fall under the category of hero, but, and let me emphasize this, is not a villain. Horses of Heaven I don't know how often I've seen those compared incorrectly. The Antihero is not the "bad guy." Yes, Luna, I know I repeated myself but it was important.
Antiheroes are usually dark, tragically-flawed, and don't often win at the end of the day. They don't usually have much in the way of morals, or something's happened to them that's made them... perhaps a little twisted. They are outsiders... but not necessarily someone you can't relate to or even dislike. Maybe you're a little scared of them, but there's often a dark kind of admiration there. Maybe they're the kind of person you wouldn't want to meet on a sunny day, much less in a dark alley, but at the same time you can't help but be fascinated by their story.
What's important to remember is that you can make them sympathetic, you can make them hurt by others, maybe even justified in how they feel... but they cannot be shown as your standard 'Good Guy.' I know, I know, I said I was sticking with 'Good Guy' archetypes for this, but then I realized this one was important to cover too and it lets me kind of round off with 'Good, Neutral, Evil,' if you get what I'm saying. An Antihero, again is not a hero, any more than he's a villain. He's an Antihero. Fine, Luna, she's an Antihero. And even if she gets what she's after, she still ends up cast out by society, she still pays a heavy toll for her victory. Or maybe her victory even costs her more than being defeated would have.
But at the end of the day, they haven't just done evil: whether or not they're responsible for how the story begins or where they end up, they almost always have done something wrong, and they continue to do wrong, to tread on the wrong side of the moral line even while doing right. And even when they try and make up for their mistakes, sometimes things still go to hell all the same. Metaphorically or literally. Their sins must be dominant, not their virtues. Their flaws must rule them, and even if they're strong or smart, they still have to possess a failing, even if that failing is disguised as a strength. And redemption for what they have become does not come cheaply, if at all.
This is a difficult character to do true justice to, and a major part of the reason for this is that they don't usually get happy endings. And when you get attached to a character, it can be hard, hard as hell to let them go, or to put them through things that will leave them permanently injured, permanently changed. Even if it's for the better, not the worse. On another level, this character is difficult to work with because you have to keep in mind that they can't have too many qualities of either good guy or bad guy... they have to skirt somewhere down the center, and at the same time, you have to make sure they're still interesting enough to read about even when they're doing things that you normally don't want to read about the good guys in a story doing, such as harvesting body parts.
That's about all for today. Three character types and I definitely did not stick to plan. Hopefully some of it is useful. Remember, it's all just broad generalizations, and nonspecific examples. The best way, once more, is to write stuff for yourself. The more you write, the more you work with characters, the better you're going to get at it. Just reading will leave you confused, until you begin to try and put these archetypes into action for yourself, and start to see
Friday 14 December 2012
Characterization, Part II: Bad Guys
Oh yes. We're going to have fun with this one. And it's going to end up being a ridiculously long post. So let's get right into it.
First off, note that I'm going to use a lot of generalizations and sweeping generalized terms, simply for ease of reference and everything. These can always be adjusted, in one form or another. So to start with, let's take a look at our two major classes of villain: "The Evil You Know," and "Irredeemable." There are subtypes to each, but your villain generally will fall under one of these two headings: either something familiar to you, that you can understand or even relate to on some level, or the alien, the invader, and most commonly, the Destroyer.
Now let's examine these types and their subtypes more in-depth.
The Evil You Know:
A type of villain that, when examined, may be called evil... but where the 'evil' they do is for a reason that can be understood, identified with, and perhaps even sympathized for. They may be acting out of a desire for something, or because they have an ultimate goal, or in some cases, because they seek revenge. They may be insane, or driven over the edge, or simply willing to be seen as the enemy in order to get whatever it is that they want. But even if you hate them, or find yourself afraid of them, or recognize that they are the enemy, at the same time you recognize there's something more to them. That maybe beneath everything, they're not so different.
The Evil You Know has a wide variety of subtypes, so I'll only address a few common ones here. Their purpose as a villain is often to show the effects of the choices we make on our lives and those of others, and how things that may seem completely different at first are not. They can be flawed, tragic, honorable, and even more likable and affable than the protagonist/hero. They can be a medium to higher level difficulty of character to work with, but also a very rewarding character for both the writer and the reader to experience.
Avenger:
Avengers are out... well... to avenge something. But in this form, they've either gone over the edge, or seeking revenge has consumed them and twisted them. They are willing to do anything to get their revenge, to stoop to any means or methods, and it doesn't matter how many innocents are in the crossfire.
Often, the protagonist is who this villain type seeks vengeance upon - rightfully or wrongfully - or happens to get in the way of the revenge at a crucial moment. Avengers can be played as sympathetic or simply pathetic, miserable and asocial or cheerful and pleasant, and in any number of ways. Their backgrounds can be wide and varied, and it's also an easy starting for building an antagonist character who is relatable: we've all felt the compulsion to act out for revenge for one reason or another, and it's hard not to sympathize with a villain who acts the way he does because he's lost a loved one or something important to him, no matter how often the plot is done.
The characteristics for this type of villain can be very large, and played with in any number of ways: with one, relatively-narrow and clearly-defined driving motive, it's even possible to have an affable, 'normal' character who only becomes dangerous and 'villainous' when pushed towards or acting on his goal of revenge. It allows for a wide variety of interpretations and developments, as well as a multitude of interactions with the protagonist, and an ending that can be in favor of the villain but still played out as a positive interaction in the eyes of the audience.
Pushed Too Far:
This villain type has simply had enough of being shoved around: this is different from the Avenger motif because the revenge is often not well-thought out, and it takes place against a much wider group, and with often-messier results. Even if the revenge is planned and specific, this villain type tends to not only take it too far, they tend to get others involved in the crossfire: IE, someone who fights back against a bully but ends up taking the entire class hostage or subjecting the whole school to a threat, or someone who decides they'd rather make everyone suffer for the way that they have suffered.
This villain type usually has one strict beginning: a weaker character who has been abused and pushed around constantly, and then snaps and lashes wildly out at the world, with the sole intent of trying to hurt absolutely everyone 'involved.' They can be presented as sympathetic, but almost all also carry the very important defining point of 'taking things too far:' they don't stop after their revenge against their personal enemy, or in pursuit of it cause large amounts of collateral damage. This means they can also be presented not from a sympathy viewpoint, but a 'corruption of innocence' or 'psychotic' view, where their reaction clearly becomes completely unjustified, even for the hardships they may have suffered.
A major characteristic of this character is that they are driven by accumulated shame and suffering, which compels them to be more chaotic than those who seek pure revenge. They often begin to seek 'justice' against the system or community as a whole, instead of focusing on one objective, and sometimes fall apart completely. They can be a dangerous character to work with: done improperly, and they can come across as pedantic and pathetic instead of sympathetic. But they can also serve as a reminder of what everyone is capable of, pushed too far, and can be used to show either redemption, or that every action we take against others has a very real cost.
For [Insert Subject Here]!:
A fairly simple subtype, guided by one sole purpose: to achieve the specific goal set for it, to live up to its beliefs, etcetera. Because of this, these characters often tend to come across as extreme, and as 'blind:' a very popular driving angle behind this character, for example, is a belief in a religion or cult that compels them to act the way they do under the inspiration that they are doing the work of their savior or god, even though to many others they seem to be doing nothing but causing pain and suffering. Religion or cultism is not a requirement, however: just as easily, this person could be driven by belief in another person, as well as any doctrine, law, or otherwise.
These characters can be portrayed a variety of ways, but are almost always very stubborn, and extremely dedicated and sensitive on the subject of their driving force. For example, a character might be depicted as a handsome and friendly knight, but if his king's ideals are questioned, he is extremely quick to anger, even violence. Conversely, they may simply refuse to believe anything except for that one doctrine: the lack of a passionate reaction in spite of their total belief can help create a villain who comes across as understanding, even compassionate despite his role as an antagonist.
The sole defining characteristic is their deep belief, and what they are willing to do in order to pursue - and often spread - that doctrine, or the law of whoever guides them. Their faith may be depicted as being unstable at points, or shaken, but it is rarely completely destroyed during the story: conversely, a "crisis of faith" can be used to create the defining moment where the character is pushed into a different role. But this character type hinges on its faith, and that is what helps define the character as a whole: when that belief changes, the entire character has to change with it.
Good Intentions/Because I Had To:
The best example of an Evil You Know, and often the most sympathetic form of antagonist, is this type: they set out to do something good, but their actions have led to something evil, or they have been forced to do something bad not because they wanted to, but because it was the best possible choice. These are characters who, even as an antagonist, can become more relatable than the hero, and even more likable than the hero. These are often characters who have seen nothing but the worst side of the world or become involved with something too big for them to handle out of pure stupidity or naivety, yet all the same they struggle to make the best of the situation, even if they have to be the bad guys to do it.
The most important thing to remember about this subtype is that they are, for lack of a better word, pony. They have feelings and emotions. They often understand right and wrong, and when they're on the bad side of that. And they are usually pushed, for one reason or another, into playing the role they're in by circumstance more than plan. Sometimes it's even as simple as a misunderstanding that goes completely out of proportion, or they happen to be coerced or hired by the enemy side of the field.
This subtype allows for one of the widest variety of character interactions, and to present an antagonist who is sympathetic, relatable, and enjoyable, and help dispel the notion that there is a "good side" and "evil side" in life. They can even be presented as "better" characters than the protagonist, in everything from their moral choices to how they act with others, perhaps even in their self-sacrifice by the end of the story: what sets them apart as antagonist is either their goal, or what they have been forced to do for one reason or another.
Their characteristics, unlike other antagonists, are usually very positive. Sometimes these characters can remain "hidden" in one way or another until the end of the story - IE, the antagonist is trying to kill one specific person the entire story, protagonist refuses to listen, at the end of the story said person turns out to be the destroyer of all happiness or something - but there will always come a point when their story is told and revealed, and they can often be perceived as noble. They are difficult at times to get across properly, but when done correctly, they are often among the most-notable characters from any story.
Irredeemable:
"Evil" doesn't describe them properly. They have no purpose except to play the antithesis, and the opposite number to the protagonist. Even if you can understand their goals, even if you can understand the characters themselves, their motivations seem to serve little purpose except to create as much pain and suffering as possible. They are often bizarre, or mechanical, or simply unnatural, which adds to the impact of how... purely "wrong" they are. And they usually have no redeeming qualities, hence their name.
These are both the easiest and the hardest villains to fall back on: the "pure evil" opposite number to the hero. There are only two main subtypes that I'll address here, because by definition they only seek to benefit themselves at the very most. They can be a very simple fallback for a short or simpler story, as they don't often require a lot of background or exposition, but if handled properly they can also make for an excellent "archnemesis" or master villain.
The Emperor:
An Irredeemable subtype that is interested in one thing, and one thing only: power. What form that power comes in varies, but what is always true is that the Emperor seeks only to benefit itself. And no, it can be an Empress, too, but I wanted to make a fancy reference to a tarot card so there.
What makes the Emperor Irredeemable is its willingness to do anything to obtain power, and that it seeks solely to benefit itself. It doesn't want to rule a kingdom because it thinks it can do a good job: it wants to rule the kingdom because it wants to be in the position of ultimate power, and damn the consequences. Given all the power in the universe, the Emperor would use that power... to seek more power, and to eliminate anything that could threaten it.
A core characteristic of this subtype is often arrogance: however, the Emperor subtype is often already extremely powerful or knowledgeable in its field. The flaws of the Emperor are often hubris and cowardice: it seeks power, but will cower from those who are more powerful than it, even if it tries to lash out in anger as well. These are evil kings, tyrants, mad scientists, and false idols. Popular villain choice.
The Destroyer:
The name says it all: the Destroyer only wants to destroy. Why? It often doesn't know, or doesn't care. It simply wants to do one thing, and one thing alone: kill or ruin everything around it. And sometimes that even includes itself.
Destroyers usually have no empathy, no sympathy, and are often portrayed as completely alien or mechanical: they destroy because that is what they are designed to do, or because they have no other purpose. They are popularly portrayed as 'evil,' but in reality, their design and intentions have nothing to do with either alignment: even if some Destroyers willingly work with 'evil' or 'good' forces, their ultimate goal at the end of the day is still to simply eradicate everything they can. And if given the chance, they may very well turn on their handlers and allies if it so benefits them and their purpose.
These villains are often cruel and malicious beyond all reason, but can also be depicted as coldly-calculating or completely unattached to the world around them. They may demonstrate psychotic tendencies, or simply act on cold, even 'logical' principles, but in the end their goals are genocidal or worse. Destruction entities, nihilists, doomsday machines, and alien invaders are all popular choices for this role. Depending on the portrayal, that can be either a very weak fallback villain, or a very powerful, very unique and aggressive adversary.
And there we have it, a very brief, very convoluted look at antagonists, and what makes them up, at least to me. Don't blame me if none of it's helpful, I'm a poet, not a writer. And Luna keeps scoffing at me and telling me to write more or do this or that or be clearer or put down examples or talk about us. I keep telling her we're probably antiheroes but she's pretty determined to be a bad guy.
She wants her own type and subtype. I'm. Going to write some words on paper and tape it to her face to label her so she'll leave me alone. Just remember, the most important thing with characters, as with any writing, is to write with them. With practice, you'll learn what characters you do best with and how to portray them most effectively. Just keep writing, and in time, writing with different characters and learning who suits what situation and story will become second nature.
~Scrivener Blooms
First off, note that I'm going to use a lot of generalizations and sweeping generalized terms, simply for ease of reference and everything. These can always be adjusted, in one form or another. So to start with, let's take a look at our two major classes of villain: "The Evil You Know," and "Irredeemable." There are subtypes to each, but your villain generally will fall under one of these two headings: either something familiar to you, that you can understand or even relate to on some level, or the alien, the invader, and most commonly, the Destroyer.
Now let's examine these types and their subtypes more in-depth.
The Evil You Know:
A type of villain that, when examined, may be called evil... but where the 'evil' they do is for a reason that can be understood, identified with, and perhaps even sympathized for. They may be acting out of a desire for something, or because they have an ultimate goal, or in some cases, because they seek revenge. They may be insane, or driven over the edge, or simply willing to be seen as the enemy in order to get whatever it is that they want. But even if you hate them, or find yourself afraid of them, or recognize that they are the enemy, at the same time you recognize there's something more to them. That maybe beneath everything, they're not so different.
The Evil You Know has a wide variety of subtypes, so I'll only address a few common ones here. Their purpose as a villain is often to show the effects of the choices we make on our lives and those of others, and how things that may seem completely different at first are not. They can be flawed, tragic, honorable, and even more likable and affable than the protagonist/hero. They can be a medium to higher level difficulty of character to work with, but also a very rewarding character for both the writer and the reader to experience.
Avenger:
Avengers are out... well... to avenge something. But in this form, they've either gone over the edge, or seeking revenge has consumed them and twisted them. They are willing to do anything to get their revenge, to stoop to any means or methods, and it doesn't matter how many innocents are in the crossfire.
Often, the protagonist is who this villain type seeks vengeance upon - rightfully or wrongfully - or happens to get in the way of the revenge at a crucial moment. Avengers can be played as sympathetic or simply pathetic, miserable and asocial or cheerful and pleasant, and in any number of ways. Their backgrounds can be wide and varied, and it's also an easy starting for building an antagonist character who is relatable: we've all felt the compulsion to act out for revenge for one reason or another, and it's hard not to sympathize with a villain who acts the way he does because he's lost a loved one or something important to him, no matter how often the plot is done.
The characteristics for this type of villain can be very large, and played with in any number of ways: with one, relatively-narrow and clearly-defined driving motive, it's even possible to have an affable, 'normal' character who only becomes dangerous and 'villainous' when pushed towards or acting on his goal of revenge. It allows for a wide variety of interpretations and developments, as well as a multitude of interactions with the protagonist, and an ending that can be in favor of the villain but still played out as a positive interaction in the eyes of the audience.
Pushed Too Far:
This villain type has simply had enough of being shoved around: this is different from the Avenger motif because the revenge is often not well-thought out, and it takes place against a much wider group, and with often-messier results. Even if the revenge is planned and specific, this villain type tends to not only take it too far, they tend to get others involved in the crossfire: IE, someone who fights back against a bully but ends up taking the entire class hostage or subjecting the whole school to a threat, or someone who decides they'd rather make everyone suffer for the way that they have suffered.
This villain type usually has one strict beginning: a weaker character who has been abused and pushed around constantly, and then snaps and lashes wildly out at the world, with the sole intent of trying to hurt absolutely everyone 'involved.' They can be presented as sympathetic, but almost all also carry the very important defining point of 'taking things too far:' they don't stop after their revenge against their personal enemy, or in pursuit of it cause large amounts of collateral damage. This means they can also be presented not from a sympathy viewpoint, but a 'corruption of innocence' or 'psychotic' view, where their reaction clearly becomes completely unjustified, even for the hardships they may have suffered.
A major characteristic of this character is that they are driven by accumulated shame and suffering, which compels them to be more chaotic than those who seek pure revenge. They often begin to seek 'justice' against the system or community as a whole, instead of focusing on one objective, and sometimes fall apart completely. They can be a dangerous character to work with: done improperly, and they can come across as pedantic and pathetic instead of sympathetic. But they can also serve as a reminder of what everyone is capable of, pushed too far, and can be used to show either redemption, or that every action we take against others has a very real cost.
For [Insert Subject Here]!:
A fairly simple subtype, guided by one sole purpose: to achieve the specific goal set for it, to live up to its beliefs, etcetera. Because of this, these characters often tend to come across as extreme, and as 'blind:' a very popular driving angle behind this character, for example, is a belief in a religion or cult that compels them to act the way they do under the inspiration that they are doing the work of their savior or god, even though to many others they seem to be doing nothing but causing pain and suffering. Religion or cultism is not a requirement, however: just as easily, this person could be driven by belief in another person, as well as any doctrine, law, or otherwise.
These characters can be portrayed a variety of ways, but are almost always very stubborn, and extremely dedicated and sensitive on the subject of their driving force. For example, a character might be depicted as a handsome and friendly knight, but if his king's ideals are questioned, he is extremely quick to anger, even violence. Conversely, they may simply refuse to believe anything except for that one doctrine: the lack of a passionate reaction in spite of their total belief can help create a villain who comes across as understanding, even compassionate despite his role as an antagonist.
The sole defining characteristic is their deep belief, and what they are willing to do in order to pursue - and often spread - that doctrine, or the law of whoever guides them. Their faith may be depicted as being unstable at points, or shaken, but it is rarely completely destroyed during the story: conversely, a "crisis of faith" can be used to create the defining moment where the character is pushed into a different role. But this character type hinges on its faith, and that is what helps define the character as a whole: when that belief changes, the entire character has to change with it.
Good Intentions/Because I Had To:
The best example of an Evil You Know, and often the most sympathetic form of antagonist, is this type: they set out to do something good, but their actions have led to something evil, or they have been forced to do something bad not because they wanted to, but because it was the best possible choice. These are characters who, even as an antagonist, can become more relatable than the hero, and even more likable than the hero. These are often characters who have seen nothing but the worst side of the world or become involved with something too big for them to handle out of pure stupidity or naivety, yet all the same they struggle to make the best of the situation, even if they have to be the bad guys to do it.
The most important thing to remember about this subtype is that they are, for lack of a better word, pony. They have feelings and emotions. They often understand right and wrong, and when they're on the bad side of that. And they are usually pushed, for one reason or another, into playing the role they're in by circumstance more than plan. Sometimes it's even as simple as a misunderstanding that goes completely out of proportion, or they happen to be coerced or hired by the enemy side of the field.
This subtype allows for one of the widest variety of character interactions, and to present an antagonist who is sympathetic, relatable, and enjoyable, and help dispel the notion that there is a "good side" and "evil side" in life. They can even be presented as "better" characters than the protagonist, in everything from their moral choices to how they act with others, perhaps even in their self-sacrifice by the end of the story: what sets them apart as antagonist is either their goal, or what they have been forced to do for one reason or another.
Their characteristics, unlike other antagonists, are usually very positive. Sometimes these characters can remain "hidden" in one way or another until the end of the story - IE, the antagonist is trying to kill one specific person the entire story, protagonist refuses to listen, at the end of the story said person turns out to be the destroyer of all happiness or something - but there will always come a point when their story is told and revealed, and they can often be perceived as noble. They are difficult at times to get across properly, but when done correctly, they are often among the most-notable characters from any story.
Irredeemable:
"Evil" doesn't describe them properly. They have no purpose except to play the antithesis, and the opposite number to the protagonist. Even if you can understand their goals, even if you can understand the characters themselves, their motivations seem to serve little purpose except to create as much pain and suffering as possible. They are often bizarre, or mechanical, or simply unnatural, which adds to the impact of how... purely "wrong" they are. And they usually have no redeeming qualities, hence their name.
These are both the easiest and the hardest villains to fall back on: the "pure evil" opposite number to the hero. There are only two main subtypes that I'll address here, because by definition they only seek to benefit themselves at the very most. They can be a very simple fallback for a short or simpler story, as they don't often require a lot of background or exposition, but if handled properly they can also make for an excellent "archnemesis" or master villain.
The Emperor:
An Irredeemable subtype that is interested in one thing, and one thing only: power. What form that power comes in varies, but what is always true is that the Emperor seeks only to benefit itself. And no, it can be an Empress, too, but I wanted to make a fancy reference to a tarot card so there.
What makes the Emperor Irredeemable is its willingness to do anything to obtain power, and that it seeks solely to benefit itself. It doesn't want to rule a kingdom because it thinks it can do a good job: it wants to rule the kingdom because it wants to be in the position of ultimate power, and damn the consequences. Given all the power in the universe, the Emperor would use that power... to seek more power, and to eliminate anything that could threaten it.
A core characteristic of this subtype is often arrogance: however, the Emperor subtype is often already extremely powerful or knowledgeable in its field. The flaws of the Emperor are often hubris and cowardice: it seeks power, but will cower from those who are more powerful than it, even if it tries to lash out in anger as well. These are evil kings, tyrants, mad scientists, and false idols. Popular villain choice.
The Destroyer:
The name says it all: the Destroyer only wants to destroy. Why? It often doesn't know, or doesn't care. It simply wants to do one thing, and one thing alone: kill or ruin everything around it. And sometimes that even includes itself.
Destroyers usually have no empathy, no sympathy, and are often portrayed as completely alien or mechanical: they destroy because that is what they are designed to do, or because they have no other purpose. They are popularly portrayed as 'evil,' but in reality, their design and intentions have nothing to do with either alignment: even if some Destroyers willingly work with 'evil' or 'good' forces, their ultimate goal at the end of the day is still to simply eradicate everything they can. And if given the chance, they may very well turn on their handlers and allies if it so benefits them and their purpose.
These villains are often cruel and malicious beyond all reason, but can also be depicted as coldly-calculating or completely unattached to the world around them. They may demonstrate psychotic tendencies, or simply act on cold, even 'logical' principles, but in the end their goals are genocidal or worse. Destruction entities, nihilists, doomsday machines, and alien invaders are all popular choices for this role. Depending on the portrayal, that can be either a very weak fallback villain, or a very powerful, very unique and aggressive adversary.
And there we have it, a very brief, very convoluted look at antagonists, and what makes them up, at least to me. Don't blame me if none of it's helpful, I'm a poet, not a writer. And Luna keeps scoffing at me and telling me to write more or do this or that or be clearer or put down examples or talk about us. I keep telling her we're probably antiheroes but she's pretty determined to be a bad guy.
She wants her own type and subtype. I'm. Going to write some words on paper and tape it to her face to label her so she'll leave me alone. Just remember, the most important thing with characters, as with any writing, is to write with them. With practice, you'll learn what characters you do best with and how to portray them most effectively. Just keep writing, and in time, writing with different characters and learning who suits what situation and story will become second nature.
~Scrivener Blooms
Friday 7 December 2012
Characterization, Part I
I've always felt that the most important thing in any story... is the characters. You can have the crappiest story ever, but if the characters are interesting and real and engaging, they not only help make your stupid plot more believable... they make the story themselves. The characters themselves will influence the story, even if sometimes that means you go in directions you never expected, or don't want to... but all the same, the character guides you there.
Now, I'm not saying that plot and blah blah blah aren't important. I mean, a good plot and good characters will beat a bad plot and good characters. Unless, you know. You're. Looking for a really bad plot. Like when you go to the movies just to see something horrible. But I'm getting way off topic, yes, yes. Let's just go back to the characters.
Most stories have a protagonist and an antagonist, and this is what I'd like to start off focusing on, the very basics. In fact, I'm going to ahead and generalize as "Good" vs. "Evil," because you don't really get more basic than that, and in terms of discussing characters I want to stay simple in this first part. You have your Good Guys, who usually represent... you know. Happiness, peace, nice stuff, good hygiene, and all that. Then you have your Bad Guys, who are usually... jerks, monstrous, selfish, other... negative attributes. Those are the simplest characterizations. Those are cliches and stereotypes in some way, but again, starting at the basics: cliches and stereotypes exist for a reason, never, ever forget that, and never ever dismiss anything - character or otherwise - as instantly unusable because it adheres to a stereotype or cliche. Because they actually do exist, and they actually can serve you well... used properly.
But we'll save that for later, too; in fact, I'm going to save discussing Good Guys and Bad Guys more in specific posts for each of them, because I have a lot to say about both, and I'd like to. You know. Actually do an intelligent post once in my life.
Instead, I just want to finish making that point I started up there. Characters make the story: yes, a good story with good characters is what we should all aim for... but if you are going to be like me and write horrible niche-type stories and poetry that only certain ponies like, then you should put most of your effort on developing the characters. Not just because they'll help make your story more likable, but because the more life you give the characters, the more weight comes off you to make decisions regarding your story and your plot: if you give a character so much life they seem to walk and talk, that you begin to understand their personality, see how they'd react in your mind... then when faced with a difficult choice, you no longer have to work so hard to understand what they'd do, and how to move the story forwards. If uh... Butter Blossom is extremely superstitious and/or religious and she's faced with a choice of going left or right, she's probably going to go right, because 'left is the devil's path.' Yes, very. Sweeping, general, not-completely-thought out example, but work with me here. I'm typing with hooves, Luna's... kind of... maliciously looming behind me, and I gotta keep these posts short.
Yes, focusing on the characters, giving them life, can lead you to problems sometimes. Can take you into places you'd rather avoid. But just think of that as testing your skills as a writer, as... you know, making yourself both experiment, and show that even thrown into a difficult enterprise, you can still come out making things... if not likable, then at least real. Much as reality sucks and a lot of ponies don't want to read about it.
And my time is up. But next post I'm going to talk about one of my favorite things and few things I can be confident in writing about from living so long with Luna and... well, myself: Bad Guys. And Luna is. Chewing on my ear. That's not a good sign.
She wants to show me what a 'villain' she is and pretend that I'm the ohnonothat.
~Scrivener Blooms
Now, I'm not saying that plot and blah blah blah aren't important. I mean, a good plot and good characters will beat a bad plot and good characters. Unless, you know. You're. Looking for a really bad plot. Like when you go to the movies just to see something horrible. But I'm getting way off topic, yes, yes. Let's just go back to the characters.
Most stories have a protagonist and an antagonist, and this is what I'd like to start off focusing on, the very basics. In fact, I'm going to ahead and generalize as "Good" vs. "Evil," because you don't really get more basic than that, and in terms of discussing characters I want to stay simple in this first part. You have your Good Guys, who usually represent... you know. Happiness, peace, nice stuff, good hygiene, and all that. Then you have your Bad Guys, who are usually... jerks, monstrous, selfish, other... negative attributes. Those are the simplest characterizations. Those are cliches and stereotypes in some way, but again, starting at the basics: cliches and stereotypes exist for a reason, never, ever forget that, and never ever dismiss anything - character or otherwise - as instantly unusable because it adheres to a stereotype or cliche. Because they actually do exist, and they actually can serve you well... used properly.
But we'll save that for later, too; in fact, I'm going to save discussing Good Guys and Bad Guys more in specific posts for each of them, because I have a lot to say about both, and I'd like to. You know. Actually do an intelligent post once in my life.
Instead, I just want to finish making that point I started up there. Characters make the story: yes, a good story with good characters is what we should all aim for... but if you are going to be like me and write horrible niche-type stories and poetry that only certain ponies like, then you should put most of your effort on developing the characters. Not just because they'll help make your story more likable, but because the more life you give the characters, the more weight comes off you to make decisions regarding your story and your plot: if you give a character so much life they seem to walk and talk, that you begin to understand their personality, see how they'd react in your mind... then when faced with a difficult choice, you no longer have to work so hard to understand what they'd do, and how to move the story forwards. If uh... Butter Blossom is extremely superstitious and/or religious and she's faced with a choice of going left or right, she's probably going to go right, because 'left is the devil's path.' Yes, very. Sweeping, general, not-completely-thought out example, but work with me here. I'm typing with hooves, Luna's... kind of... maliciously looming behind me, and I gotta keep these posts short.
Yes, focusing on the characters, giving them life, can lead you to problems sometimes. Can take you into places you'd rather avoid. But just think of that as testing your skills as a writer, as... you know, making yourself both experiment, and show that even thrown into a difficult enterprise, you can still come out making things... if not likable, then at least real. Much as reality sucks and a lot of ponies don't want to read about it.
And my time is up. But next post I'm going to talk about one of my favorite things and few things I can be confident in writing about from living so long with Luna and... well, myself: Bad Guys. And Luna is. Chewing on my ear. That's not a good sign.
She wants to show me what a 'villain' she is and pretend that I'm the ohnonothat.
~Scrivener Blooms
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