Writing Comic Book Characters
Found this article relevant?
By Jorge Sette.
In his extraordinarily insightful and funny book, Understanding Comics: The Invisible Art, author Scott McCloud states that comics is (yes, the verb is used in the singular!) a 3000-year-old sequential art form. More precisely, he defines comics as “juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer.” In modern times, however, the medium has mostly been used to combine pictures and words in the telling of stories.
Since we are in the realm of storytelling, we must necessarily allude to the seminal works of Joseph Campbell (The Hero with a Thousand Faces) and Christopher Vogler (The Writer’s Journey), to advise writers on how to go about creating strong characters. Given the limited space of this blog post, we will not be covering the visual aspects of comics here.
Comics – sometimes called graphic novels, when not serialized but released as a standalone volume – is a medium, not a genre. As a writer, you must therefore stick to the set conventions (again, beyond the scope of this post) of the style of the work you are producing: be it romance, satire, horror, sci-fi, fantasy or superhero story. The guidelines for character creation that follow apply to all of those genres.
Writers who populate their stories with archetypes resonate a lot more deeply with their audiences. Archetypes – as defined by the famous psychologist Carl Jung – are characters or energies that represent mental functions common to all human beings. They are part of what is known as the collective unconscious and are projections of the different parts that together constitute a complete person, though they tend to appear as individual characters in a story. Let’s illustrate our analysis of the main archetypes used in graphic novels with examples from Marvel’s popular Spider-Man: Season One.
The hero is the story’s protagonist. It is through his/her eyes that the audience experiences the story. It’s therefore essential to create engaging characters that the reader can identify with. An effective way to do that is to make the character well-rounded. Popular heroes tend to balance noble qualities with major flaws. It’s essential to avoid passivity in heroes. They are more appealing when they proactively conduct their journey.
In Spider Man, this is, of course, the part of Peter Parker.
The herald is the character, institution, or event that announces the upcoming adventure; he/she anticipates the need for the hero to leave his normal world (or the stable situation he finds himself in) and go on a mission. The herald is the bearer of disturbing news. Wrongs must be righted and only the hero can take on this responsibility.
The article on the Vulture’s sightings in New York, featured in the Daily Bugle, sets off the action in Spider-Man: Season One.
In Joseph Campbell’s words, a mentor is usually represented by the wise old man or woman. But, of course, any character, of any age, can perform this function in the story. The mentor helps the hero out, by example or advice. He plays the hero’s role model.
Uncle Ben plays the mentor in Spider-Man.
Here we have the enemy. The hero’s arch nemesis. The personification of the hero’s worst fears. It’s said that the shadow may also reflect what heroes don’t like about themselves, their dark side.
In Spider-Man: Season One, this function is obviously performed by The Vulture.
Threshold guardians are gatekeepers who are always testing the hero on their progress towards their goal. They guard the doors that will allow the hero to enter a more evolved phase. They might be confronted head-on or have their energies tapped into by the hero. Sometimes they happen to turn into allies.
Flash Thomson, one of Peter Parker’s bullying schoolmates, is undeniably a gatekeeper in Spider-Man: Season One. The editor-in-chief of the Daily Bugle, J. Jonah Jameson, is another formidable threshold guardian.
These characters challenge the status quo; they provide comic relief (which is necessary to break the otherwise unbearable tension of a suspenseful story). Tricksters put things into perspective.
Peter Parker himself can be thought of as a trickster hero in Spider Man.
It’s important not to forget that the archetypes listed above perform key dramatic functions in any story. Therefore, two or more of these masks can be worn by the same character at different points in the narrative.
Good luck with the creation of powerful characters in your graphic novel. Let us know if the advice above is useful to you.