Episode 716 - Identify with characters?
Dec 2, 2024
Is it important to Identify with characters? This question occurred to me as I was watching a rather banal sitcom, Rules of Engagement. I love two of the stars, David Spade and Patrick Warburton, but it's not really that engaging a show, the humour is anodyne and a lot of it is based around traditional gender roles and expectations, but I forced myself to watch it anyway just to see more of the aforementioned stars. The only way I was able to get into it was because I somewhat identified with David Spade's character- being a small blonde guy with long hair and a bit of a perv, haha!
Topics and Show Notes
We discussed the idea long and hard in this Quackcast and came to some interesting conclusions. One of the ideas floated was that you don't have to identify with any of the characters at all as long as the story is good enough. Another idea is that there are ways to make the audience identify with ANY character regardless of who they are; first person writing is the easiest, making them the main POV character can work, making them an underdog, or giving characters a relatable feeling, experience or situation works too.
The classic way of doing it is to make the character somehow similar to the audience it's intended for. This is a banal, amateurish, and basic way of doing things, but it makes up for basic writing. It's why most action films have traditionally have average, bland male stars, usually white and looking between 20-40, and “chick-flicks have the same thing but with a woman. It's why animes often have an extremely bland male star as the main character, especially for harem anime. And this is also the reason for the current fad of gender-swapping and ”race-swapping“ in everything, though through that they're attempting to broaden appeal.
I think representation is a related factor (But NOT the same thing), and that IS important: to be able to see that people like you are ”seen” by the rest of the world and represented in the stories you consume is essential for a sense of self and how you fit into the world. It's something that's needed: people who look like you, talk like you, with lives like you, the same sexuality, gender etc. being represented positively in the stories you consume. That will never not be important! But main character doesn't need that unless the writing is super thin.
I rationalise this because even though I'm a straight, white, middle-aged, Australian man I easily identify with any main character regardless of age, gender, sexuality, nationality or ethnicity when the writing is good. But when it's not you cling to what you know: Anything familiar.
What do you think? Should main characters always be made to be audience proxies? And if so how should that be done? Can you name things where you identify with none of the characters but still enjoy it anyway?
This week Gunwallace gave us a theme inspired by the Railroad of the Wallachian Library - Creepily atmospheric… grey twilit mists swirl and eddy, tensions build, electricity crackles the air as your hackles rise… a ghostly locomotive charges out of the billowing fog only to disappear into the darkness.
Topics and shownotes
Links
Featured comic:
the Railroad of the Wallachian Library - https://www.theduckwebcomics.com/news/2024/nov/26/featured-comic-the-railroad-of-the-wallachian-library/
Featured music:
the Railroad of the Wallachian Library - https://www.theduckwebcomics.com/The_Railroad_of_the_Wallachian_Library/ - by thehereticlocomotive, rated M
Special thanks to:
Gunwallace - https://www.theduckwebcomics.com/user/Gunwallace/
Tantz Aerine - https://www.theduckwebcomics.com/user/Tantz_Aerine/
Ozoneocean - https://www.theduckwebcomics.com/user/ozoneocean
Kawaiidaigakusei - https://www.theduckwebcomics.com/user/kawaiidaigakusei
Banes - https://www.theduckwebcomics.com/user/Banes/
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Episode 325 - walk the line
May 29, 2017
In this Quackcast we cover the Importance of good linework in comics and different line techniques such as Herge's Ligne claire, the traditional thick line for characters and thin for everything else as exemplified in the work of Mucha, variable line widths as in Manga, solid blacks like in American comics, and complex lines like Durer or Hyena Hell. I really seriously thought I could get an entire Quackcast out of the concept and techniques of linework, but honestly I was struggling… Okay, so linework constitutes the skeleton that most comics are built on, with the notable exception of painted comics, photo comics, 3D and vector comic among others… But for most comics line is a pretty essential element. There are a lot of different techniques involved in the use of lines. Herge popularised “ligne claire”, which means that all lines have the same thickness and that there's no line shading. A popular style that I was taut was to have thick lines around characters and overlapping elements, with thin lines for internals and backgrounds. This is popular in a lot of manga, US comics and famously the work of Alphonse Mucha. Part of my technique on Pinky TA involves making my lines grey, so that when I set the line layer to “multiply”, the lines take on some of the background colours beneath them and don't show up as darkly as traditional black lines. The work of Hyena Hell on the Hub is interesting for her use of very complex internal shading line to build up texture and shapes, this can also be seen in the works of Albrecht Durer. Manga is notable for its extensive use of very stylised shading, crisp lines and the use of variable line widths for outlines, while American comics make heavy use of solid blacks for areas of shadow, basically extending the width of the line as far and as solidly as it can go. How do YOU approach your linework? The music for this week by Gunwallace is for The Wallachian Library. It's a dark, black future sounds, neon glows, pulses of energy and ideas, vectors and virtual circuits.Sorry, no link to this comic, the user deleted it from the site.
