Workshopping with Rasp: Part 1 of 3Here it is, as promised. Keep in mind that even though I do not have formal training as a writer, these are the things I keep in mind when writing my characters. I have had varying levels of success here at dA and you are free to use my ideas or not. I'm not claiming to know it all, the below is not gospel and it's not guaranteed. But you never know.Workshopping with Rasp: Part 1 of 3 by `raspil
Comments are appreciated, haters are welcome.
How to Create Compelling Characters
I can't speak for everyone but I read for compelling characters. If the characters really move me, the plot can be as thin as it wants; though it's not always easy to have characters carry the whole thing if nothing is happening.
Where do we find compelling characters? In books, of course, but they're obviously not confined to books. Compelling characters in movies are just as important. Unless you're doing improv, plays and movie
Stylization and Avoiding Being an Art AssholeStumbled on an "anatomy blog" showcasing breakdowns of [mostly] bad art to highlight how broken their anatomy is. Which is fine, it can be a great learning tool and exercise, but finding obviously stylized work by master character designers getting shat on by amateur artists is...frustrating**.Stylization and Avoiding Being an Art Asshole by ~ESDA06
Designs like these come from a shape-based theory of character design where anatomy doesn't matter as much as mood and implication. It's part of a design language stretching back to studios like Bauhaus and UPA.
If you're looking at something designed like Kim Possible* and going "HAHA THIS WORK IS SHIT LOOK THEIR HIPS ARE TOO LOW THAT'S NOT HOW PEOPLE ARE BUILT!" you are missing the point. THOSE designers aren't going for verisimilitude. Fidelty wasn't the point. The point is matching the feel of a character and making them match their world.
(*not the show the critique was aimed at, but the design they were ripping on was by Step
