I love how Season 3 of ‘Station 19’ is just showing us all the main character’s backstories. This is what I’m talking about when it comes to character representation and development. Show us who these people are as well as who they’re not anymore. How they’ve grew, how they’ve evolved, transitioned through their adolescence to the wonderfully complex and dynamic people that they are today. How they’ve been influenced by their past and their youth. All their mistakes, all their conditions, all their flaws, and all their traumas. That’s what I want to see in TV shows. A proper exploration of characterization in everything. The positive and the negative so I can see that they’re well-rounded individuals that deserve my attention.
This is how it should be done every time, all the time. Forget about plot because the plot should be wrapped around the characters. Never the other way around.
If you do it the other way around you force things to happen that don’t have any logical reason to happen. Focus on characterization helps you use themes and narrative plot points with substance behind them.
For example, because we know Travis Montgomery is gay and has been married and has lost his husband while on duty, he has a resistance to the system and his bitterness fuels his need to help people who are going through the same or similar emotions he does.
They make the narrative relate to him and his story so the narrative itself for that specific episode resonates even more than it would if that was not ever explored. You feel something from the main narrative because of Travis’ ties to it through his character backstory.
Characterization writing is crucial to any lasting story. Not enough TV show creators/runners are utilizing the characterization to tell the story of the show itself. They’re moving on from it too quickly because they believe getting to the plot beats is more important.
But what is the point of the plot if there’s nothing there that relates to or resonates with the audience? You’re missing the bigger picture of the whole show because you want to hurry up with telling the story. But you can’t tell a truly compelling story without proper characterization exploration. It doesn’t work.
Exploring main character backstories and relationships or even just one-off character interactions are very important to storytelling and I honestly believe that the TV art/entertainment industry has lost the plot because they focus too much on the plot and not enough on characterization.
Everything becomes a mess and nothing gets a successful and satisfying endgame because of it.
Don’t put the plot first. Don’t make it the focus.
Put characterization central to everything else and I promise you that the plot will practically write itself.
Tie themes to characters. Tie narratives to characters. Show us who the characters are and who they’re not.
Let the characterization drive the whole show.
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I have a random thought to pitch to you all the idea of Airplane SQH acting as SJ's lawyer in PIDW.
(Confession: I have not read SVSSS, so I have no real clue on how the trials happened, but just hear me out)
Shen Jiu stands on trial at Huan Hua Palace, charged with the grievous crime of the murder of Qiu Haitang's family, the death of Liu Qingge, and the mistreatment of Luo Binghe.
For the sake of propriety, SJ is assigned someone to defend him in the trial as his defence. The people clamour, Qiu Haitang and Liu Mingyan especially, arguing that he does not deserve someone to aid his defense, but Yue Qingyuan does not relent.
He assigns Shang Qinghua as the lead, a compromise to quell the rabble of protesters.
Shang Qinghua presents as clumsy, disorganised, and tongue tied. A barely qualified Peak Lord who looks as if an ant on his shoulder would give him enough of a scare to induce cardiac arrest. They believe Shen Jiu is guaranteed to be found guilty on all accounts when YQY picks him.
But Yue Qingyuan knows his shidi and knows just how capable he is. He has witnessed him weave through social dilemmas and negotiate with merchants, each time coming out on top with diplomats willing to do anything and traders selling even at a loss. He has made this sect richer and more influential than he has ever had in years.
So Yue Qingyuan is confident that Shang Qinghua can pull this off.
The day of the trial comes, and like the sound of the first horn at the front lines, it commences.
Shang Qinghua and the prosecutors spend hours on each and every charge, with Qinghua breaking down each argument and exposing the cracks to them.
He pulls out witnesses that Shen Jiu thought he would never see.
Former slaves of the Qiu family who attest to the horrific crimes of what Qiu Jianluo did, of the abuse Shen Jiu was put under, even forcing the sect leader himself to explain their history and air everything out.
He prods at Liu Mingyan's accusations, revealing the hearsay and conjecture of her story. His accusations of lecherous acts are dismantled as he brings the head of the Warm Red Pavillion and other workers to testify in favour of him.
With Luo Binghe, it is Shang Qinghua's most difficult test yet. How can one justify the hate that was perpetuated by Shen Jiu, the endless suffering caused by him to Luo Binghe?
He cannot, what he can do is create a sense of empathy towards Shen Jiu, building an argument of constant sequential trauma which had molded him to become this jaded, cynical individual caught in the cycle of abuse.
He appeals to the remains of Luo Binghe's humanity for mercy, and to the crowd of Luo Binghe's instability caused by Xin Mo. Weaving both together the case of Luo Binghe being too manic and unstable to properly pass judgement, that what Luo Binghe really wanted was justification for all the hurt brought down upon him.
Shen Jiu is still given punishment for his mistreatment of Luo Binghe, but the air feels as if it has shifted, changed into something he doesn't know what to do.
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All the final lines of each part of every Hunger Games book
THG:
Part I:
“Because . . . because . . . she came here with me.”
Part II:
Before I can stop myself, I call out Peeta’s name.
Part III:
I take his hand, holding on tightly, preparing for the cameras, and dreading the moment when I will finally have to let go.
CF:
Part I:
It’s my mockingjay.
Part II:
This is no place for a girl on fire.
Part III:
“Katniss, there is no District Twelve.”
MJ:
Part I:
And his blood as it splatters the tiles.
Part II:
That I’m of more use to her dead than alive.
Part III:
I tell him, “Real.”
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One of the things that makes me feel crazy on DMC5 replays is the way V phrases his request to Dante.
He doesn't say "we need your help to stop the demon." He says "A powerful demon is about to resurrect, and we need your help, Dante." The implication seems to be that V needs Dante's help to stop it...but if you've played it before, that's not what he's really asking. V needs Dante's help in order for the resurrection to take place. Because until Urizen is weakened V has no chance of rejoining him, so he needs Dante's help to weaken Urizen so he's primed for merging and bringing about Vergil's resurrection. The "we" V refers to could also absolutely be both V and Urizen in that case, instead of just some general "we" of humanity. So he's not really asking for help to stop the resurrection, but instead to bring it about, hiding the truth in plain sight and careful wording.
The DMC 5 localization can be wonky in some places, but in other places it just shines. "We need your help, Dante." Not to stop it. He never says that. It's to bring about the resurrection itself.
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