Heroes vs Characters
People often talk about round vs flat characters, dynamic vs iconic characters.
Instead, today, I want to ramble a little bit about another distinction — a distinction, you might say, between archetypal heroes and distinct characters.
I’m not trying to make this the Grand Unified Theory of all fiction here, just pointing out something interesting that I’ve seen happen in popular books and movies.
If you can get past the tasteless and misogynistic humor used to frame the videos, one of the best ways to waste an hour on the internet is to watch Red Letter Media’s 7-part review of Star Wars: Episode 1. There’s a lot of really good storytelling analysis here.
Today’s blog entry is going to pivot off of the section that begins at about 06:48 of the first video, where guests compare Original Trilogy characters and Prequel Trilogy characters.
If you don’t care to watch, here’s a transcript:
Describe the following Star Wars character WITHOUT saying what they look like, what kind of costume they wore, or what their profession or role in the movie was.
Describe this character to your friends like they ain’t never seen Star Wars.
The more descriptive they get, the stronger the character, right?
“He’s a rogue”
“He’s very arrogant, but charming”
“Roguish, if you will”
“Han Solo is… totally dashing <3”
“Wannabe dashing, he fancies himself as a playboy”
“So, like, he’s a smarmy cocksure womanizer”
“Completely sexy in like a bad boy sorta way where, like, he’s gonna ride the line”
“He’s got kind of a dark streak to him, with shooting Greedo in the bar”
“But also, deep down, he’s a thief with a heart of gold, that’s his character, really.”
“I don’t remember that character.” (OK, he’s Liam Neeson, with the beard?) “Oh… yes..”
“……Well, he has a beard.”
“Qui-Gon Jinn, and he was……..?”
“Bahaha!!!…. um…. stern?”
“C-3P0 is… anal-retentive—”
“Used a lot as comic relief—”
“—He’s bumbling… effeminate”
“That is going to be fucking impossible because she doesn’t have a character”
“She is, um………. she’s Natalie Portman?”
“Yeah, like, just, kind of…”
“She’s a queen…”
“Normal, I guess. She’s kinda normal.”
“Makeup would be a description, I was gonna describe her makeup.”
“I can’t answer that and you know it!”
“She is…. this is funny, btw”
This storytelling exercise makes it clear that Han Solo and C-3P0 are way more dynamic and memorable than these newcomers.
My question, though, is —- why didn’t Red Letter Media ask about Luke Skywalker, who is after all the main fucking character in Star Wars?
- When you describe Batman Returns, are you more likely to call it, “the one where Batman is framed for murder” or “the one with Catwoman and The Penguin?”
- Why is the typical JRPG protagonist silent, while supporting characters get dialogue?
This is the distinction I want to make:
In almost every case, when you compare the main character of a story with a main supporting character, the supporting character is cooler, more quotable, vivid, and (sometimes) even more popular!
I think the main characters of stories like these don’t really deserve to be called characters. They’re really just heroes, full stop: indistinct surfaces onto which viewers can project themselves.
And as we all know, blank surfaces are best when it comes to projection.
You might have noticed these characters are also male… I wonder why LOL. Nevertheless, female versions exist…
I got thinking about this dichotomy when I read an interesting line in Gregory Barrett’s Archetypes in Japanese Film:
Characters are the constituents of realistic drama and literary art. Archetypes are the stuff fantastic entertainments and commercial films are made of.
Similar to this is a comment Susan Sontag made in Thesis 33 of Notes on Camp:
…Wherever there is development of character, Camp is reduced. Among operas, for example, La Traviata (which has some small development of character) is less campy than Il Trovatore (which has none).
It sometimes seems that the campier the entertainment, the less character development becomes possible for the hero.
You could even say that the Campbellian Heroic Journey — the basic story structure we all know from Star Wars, the Matrix, etc, including the figure of the ‘chosen one’ — is specifically set up to use spectacular events as a substitute for character development.
Any time a character hears a prophecy or “finds out about their destiny”, say goodbye to nuanced character analysis and say hello to spectacle.
I even think this distinction between nuanced character and heroic archetype can help explains why certain literary techniques fall flat for me.
To me, Ayn Rand’s mode of “romantic realism”, featuring larger-than-life capitalist heroes that represent (as she put it) “man as he should be”, ends up being just as turgid as works of Socialist Realism, which, you might say, tried to represent “Russia as it should be.”
Although their political philosophies were diametrically opposed, the artistic effect of both movements was equally poor.
I think this happened because the archetypal, audience-surrogate, wish-fulfillment heroes in these stories are incompatible with the level of psychological analysis that their own creators tried to milk out of them.
Rand, like the socialists she detested, believed that her ideology was the only accurate way to view the world.
Yet just like the socialists, when she tried to subject her own heroes to analysis, the effect failed. The characters were too heroic and perfect to seem real when viewed in detail.
So… the more popular the entertainment, the blanker the main character? Are things really this bleak?
When we try to create compelling main characters, it’s easy to use audience projection as a substitute for character development and default to the “chosen one” type hero.
The challenge is to achieve audience identification without relying on the “projection effect” that makes Neo, Luke, and Paul Atreides so goddamn boring.
For me, the mark of a high-quality story is when the main characters admit some degree of audience identification, but are nevertheless unique and psychologically nuanced. These individuals may develop in more ambiguous directions than the archetypal hero.
Luke Skywalker, not so much.
Filed under: CHARACTERIZATION | 5 Comments
Tags: ayn rand, batman, dune, harry potter, lord of the rings, socialist realism, Star Wars, susan sontag, the matrix
SpecTechniqueA blog about literary techniques and devices, especially those used in speculative fiction (F/SF).
- when I think gay activism, I think suing small businesses about the cakes they didn't bake me 2 days ago
- I DON'T HAVE A CAR CAN WE STOP IT WITH THE GEICO ADS 1 week ago
- This #Obamacare debacle features the worst of both worlds: right-wing giveaways to big corporations, and left-wing magical thinking 2 weeks ago
- RT @BuzzFeedAndrew: A man tattooed Leviticus 18:22 on his arm that forbids homosexuality, unfortunately Leviticus 19:28 forbids tattoos. ht… 2 weeks ago
- I'm about to go see Die Frau ohne Schatten at the @metopera - tonight's show ought to be so boss!! 3 weeks ago