WEBVTT 1 00:00:05.591 --> 00:00:10.616 Animation Basics Writing Techniques for Animation scenario 2 2 00:00:10.616 --> 00:00:13.119 GCC Academy 3 00:00:13.119 --> 00:00:16.419 4 00:00:16.419 --> 00:00:19.758 5 00:00:20.267 --> 00:00:22.243 6 00:00:22.243 --> 00:00:23.860 7 00:00:23.860 --> 00:00:25.416 8 00:00:25.420 --> 00:00:26.580 Nice to meet you 9 00:00:26.580 --> 00:00:30.217 I am Jae Woo Park, professor in Cartoon Animation Tech major at Sejong University 10 00:00:30.217 --> 00:00:33.180 I will be teaching writing Techniques for Animation scenario 2 11 00:00:33.180 --> 00:00:37.289 Lecture on compelling character creation 12 00:00:38.232 --> 00:00:42.262 Basic pattern and type of protagonist 13 00:00:42.262 --> 00:00:46.820 How is creating compelling characters for animation done? 14 00:00:46.820 --> 00:00:51.980 Let's start by exploring the basic patterns of stories and protagonists 15 00:00:51.980 --> 00:00:55.299 As well as the different types that exist 16 00:00:55.299 --> 00:01:01.619 We'll explore, first, what immutable elements of human nature's emotions there are 17 00:01:01.619 --> 00:01:05.186 Second, Patterns and types of fantasy and heroes 18 00:01:05.186 --> 00:01:10.220 Third, How to analyze diverse reactions based on age 19 00:01:10.220 --> 00:01:13.136 Fourth, Analyzing diverse reactions based on gender 20 00:01:13.136 --> 00:01:17.180 Fifth, the four quadrants of storytelling 21 00:01:17.180 --> 00:01:21.870 Sixth, we will be exploring the trend list 22 00:01:21.870 --> 00:01:25.217 Immutable elements of human nature's emotions are 23 00:01:25.217 --> 00:01:29.940 central to character creation in storytelling 24 00:01:29.940 --> 00:01:37.339 Because, regardless of how we package a movie or craft a story 25 00:01:37.339 --> 00:01:42.410 whether it's a tale of love, a story of good versus evil, 26 00:01:42.410 --> 00:01:47.660 or a narrative about rediscovering independence 27 00:01:47.660 --> 00:01:54.019 The truth is, no matter how times change, the ways we package it 28 00:01:54.019 --> 00:01:57.152 And the trends may vary, but at the core of the conceptualization, 29 00:01:57.152 --> 00:02:02.940 The immutable elements of human nature's emotions remain unchanged 30 00:02:02.940 --> 00:02:08.214 Therefore, the most important aspect to consider when creating characters are 31 00:02:08.214 --> 00:02:14.419 First, what emotional element of human nature to choose 32 00:02:14.419 --> 00:02:18.227 For example, whether it's a story about love or a story about friendship 33 00:02:18.227 --> 00:02:21.740 Selecting such primal emotions should be prioritized 34 00:02:21.740 --> 00:02:23.885 I wrote some examples 35 00:02:23.885 --> 00:02:29.296 Pride, self-esteem, attention, gaze, achievement, desire to win 36 00:02:29.296 --> 00:02:34.940 Rivalry, sense of belonging, beauty, glamour, romance 37 00:02:34.940 --> 00:02:42.139 However, what has changed is how we package these elements into modern sensibilities and current trends 38 00:02:42.139 --> 00:02:46.293 The truth is, if you watch any animation, 39 00:02:46.293 --> 00:02:53.339 at its core, the emotional elements of human nature lie 40 00:02:53.339 --> 00:02:56.940 Secondly, let's talk about fantasy 41 00:02:56.940 --> 00:03:04.940 When I refer to fantasy, I don't necessarily mean stories featuring queens and witches 42 00:03:04.940 --> 00:03:11.259 I consider any fictional narrative in animation to be fantasy storytelling 43 00:03:11.259 --> 00:03:15.979 What are the patterns and types of fantasy and protagonists, heroes? 44 00:03:15.979 --> 00:03:20.139 What type is the most popular protagonist? 45 00:03:20.139 --> 00:03:22.528 We often refer it to the Reluctant Hero 46 00:03:22.528 --> 00:03:24.798 The hero is reluctant 47 00:03:24.798 --> 00:03:29.020 I am not the one who came up with this, but there is a theologian named Joseph Campbell 48 00:03:29.020 --> 00:03:30.940 Joseph Campbell came up with that idea 49 00:03:30.940 --> 00:03:35.899 You know, cave paintings in Malaysia 50 00:03:35.899 --> 00:03:40.220 or myths of Native Americans in the United States 51 00:03:40.220 --> 00:03:43.100 They are similar 52 00:03:43.100 --> 00:03:44.884 You guys know Park Hyuk Geo se? 53 00:03:44.884 --> 00:03:47.500 He was born from an egg 54 00:03:47.500 --> 00:03:51.100 There are lots of people said to be born from an egg in the myths around the world 55 00:03:51.100 --> 00:03:55.259 So, what it boils down to is that all protagonists have their origin 56 00:03:55.259 --> 00:03:59.419 They are reluctant, no one is born to be a hero 57 00:03:59.419 --> 00:04:05.660 But ultimately, it's the character's desires, whether supernatural, scientific, 58 00:04:05.660 --> 00:04:10.380 or driven by strong willpower and events and efforts 59 00:04:10.380 --> 00:04:13.020 That eventually transform them into different characters 60 00:04:13.020 --> 00:04:17.260 A story can have a fool become a genius 61 00:04:17.260 --> 00:04:20.059 Or from ugly to cute 62 00:04:20.059 --> 00:04:24.299 Human to animal or other way around 63 00:04:24.299 --> 00:04:28.940 There is also one with a coward becoming the brave or victim to savior 64 00:04:28.940 --> 00:04:35.100 Ultimately, the most famous protagonist is made when a reluctant, a common hero 65 00:04:35.100 --> 00:04:38.619 Gets caught up in challenging events 66 00:04:38.619 --> 00:04:43.420 And overcomes them as they rise up to the occasion 67 00:04:43.420 --> 00:04:49.550 That's the kind of protagonist we find most relatable and compelling 68 00:04:49.550 --> 00:04:56.859 In Batman series, there's a story when he is physically and mentally warn down 69 00:04:56.859 --> 00:05:02.700 To the point where he considers giving up being Batman 70 00:05:02.700 --> 00:05:05.660 That's when we feel empathy towards Batman 71 00:05:05.660 --> 00:05:09.500 ultimately, Batman reluctantly returns 72 00:05:09.500 --> 00:05:12.459 To being Batman to save the city 73 00:05:12.459 --> 00:05:16.700 Even the strongest superheroes, as you all know, have weaknesses 74 00:05:16.700 --> 00:05:19.339 And there are moments of great despair as well 75 00:05:19.339 --> 00:05:23.420 If the hero already possesses abilities and strong mind 76 00:05:23.420 --> 00:05:26.619 Then we might find it difficult to empathize with them 77 00:05:26.619 --> 00:05:32.619 Especially for animation, it's important to determine the target age group 78 00:05:32.619 --> 00:05:36.940 Let's say we want to create animations 79 00:05:36.940 --> 00:05:38.859 Targeting age 2 to 5 80 00:05:38.859 --> 00:05:41.420 We call this pre-school animation 81 00:05:41.420 --> 00:05:46.299 We analyze how viewers might perceive it 82 00:05:46.299 --> 00:05:49.179 For example, children are in a position of being protected 83 00:05:49.179 --> 00:05:53.739 It might be different nowadays 84 00:05:53.739 --> 00:05:59.500 But 2 to 3 year olds may tend to feel scared of violence 85 00:05:59.500 --> 00:06:01.980 And it's also a time for them to learn things 86 00:06:01.980 --> 00:06:05.339 They often respond with laughter to simple physical humor 87 00:06:05.339 --> 00:06:09.980 In Pororo, a Korean animation series, Crong couldn't speak well at first 88 00:06:09.980 --> 00:06:12.299 Kids were engaged in that 89 00:06:12.299 --> 00:06:14.220 It's because kids are not good at expressing things yet 90 00:06:14.220 --> 00:06:16.940 They are familiar with very simple things 91 00:06:16.940 --> 00:06:18.540 And they like to be safe 92 00:06:18.540 --> 00:06:20.619 So, for preschool children, 93 00:06:20.619 --> 00:06:25.019 you can't really find a villain from famous animations series 94 00:06:25.019 --> 00:06:26.540 that was successful around the world 95 00:06:26.540 --> 00:06:30.619 They are all about having trouble, making up, reconciling within the group 96 00:06:30.619 --> 00:06:33.980 Then, things develop as they target older audiences 97 00:06:33.980 --> 00:06:36.940 If you go up to PG 13 of up, 98 00:06:36.940 --> 00:06:41.820 And create animations having contents more for adults, it wouldn't work 99 00:06:41.820 --> 00:06:45.899 So we have to analyze these attributes 100 00:06:45.899 --> 00:06:47.500 And ultimately? 101 00:06:47.500 --> 00:06:52.220 To create a successful work, you should be focused 102 00:06:52.220 --> 00:06:54.940 To a certain targeted group, 103 00:06:54.940 --> 00:06:56.859 And make sure you understand the character 104 00:06:56.859 --> 00:07:00.540 If you do this to your character, 105 00:07:00.540 --> 00:07:05.019 Other age groups also become relatable to the style 106 00:07:05.019 --> 00:07:07.179 The worst case scenario is 107 00:07:07.179 --> 00:07:11.899 When trying to make a character that is loved by everyone 108 00:07:11.899 --> 00:07:15.420 Think about food 109 00:07:15.420 --> 00:07:18.779 When you put in too many ingredients, the taste just doesn't go together 110 00:07:18.779 --> 00:07:21.500 Not many people will like it very much 111 00:07:21.500 --> 00:07:24.220 So, successful works always are focused to one target and stretches to others 112 00:07:24.220 --> 00:07:29.339 They cater to various age groups while keeping the target age in mind 113 00:07:29.339 --> 00:07:33.500 For example, on air for more than 20 years, 114 00:07:33.500 --> 00:07:36.940 The Simpsons, Tom & Jerry 115 00:07:36.940 --> 00:07:38.859 Incredibles and Toy Story 116 00:07:38.859 --> 00:07:41.420 If you look at these Hollywood works 117 00:07:41.420 --> 00:07:46.619 Adults can very much enjoy while they are meant to be for children 118 00:07:46.619 --> 00:07:49.019 And also, if age groups are important, let's not forget about gender 119 00:07:49.019 --> 00:07:53.339 However trends in gender tend to change over time 120 00:07:53.339 --> 00:07:57.739 In the past, there were cases like that in the animation market. 121 00:07:57.739 --> 00:08:00.140 When you go to the global market of animation, 122 00:08:00.140 --> 00:08:03.820 Broadcasters or distributors worldwide 123 00:08:03.820 --> 00:08:06.299 Look for action genres 124 00:08:06.299 --> 00:08:11.258 That means if you purchase a boy action series 125 00:08:11.258 --> 00:08:14.140 That appeals to 11 or 10 year old boys, 126 00:08:14.140 --> 00:08:16.779 Girls will also watch it along with them 127 00:08:16.779 --> 00:08:17.980 That was the trend of the past 128 00:08:17.980 --> 00:08:20.540 How about now? 129 00:08:20.540 --> 00:08:24.859 Nowadays, girl action series are also popular globally, 130 00:08:24.859 --> 00:08:28.059 Just as much as boy action series 131 00:08:28.059 --> 00:08:31.019 So, the world changes 132 00:08:31.019 --> 00:08:33.739 But there are characteristics specific to males and females 133 00:08:33.739 --> 00:08:35.419 The details within, differ 134 00:08:35.419 --> 00:08:38.940 It's also crucial to analyze the characteristics of girls and boys 135 00:08:38.940 --> 00:08:42.059 As well as the characteristics of women and men as they grow up 136 00:08:42.059 --> 00:08:44.059 It's important to analyze these kinds of factors 137 00:08:44.059 --> 00:08:47.900 In order to understand how to meet the diverse reactions 138 00:08:47.900 --> 00:08:50.859 Of both genders effectively 139 00:08:50.859 --> 00:08:53.419 In societies like the United States, there is also diversity in race 140 00:08:53.419 --> 00:08:59.500 So, analysis is also done to see if this animation can appeal 141 00:08:59.500 --> 00:09:02.059 More to the Hispanic community or if it can appeal more 142 00:09:02.059 --> 00:09:03.340 To the Asian community 143 00:09:03.340 --> 00:09:06.460 So, when creating my characters, it's important to remember 144 00:09:06.460 --> 00:09:11.979 To analyze age and gender, as it's one of the key factors to consider 145 00:09:11.979 --> 00:09:14.619 Therefore, when it comes to the storytelling's quadrant lawm 146 00:09:14.619 --> 00:09:18.219 It's actually derived from the marketing's four-quadrant law by the way 147 00:09:18.219 --> 00:09:22.700 It divides age groups from 1 to 14 148 00:09:22.700 --> 00:09:24.380 And separates them by gender as examples 149 00:09:24.380 --> 00:09:27.099 However, animations targeted for adults 150 00:09:27.099 --> 00:09:29.500 Can extend from 14 and up to the age of 30 or even beyond 151 00:09:29.500 --> 00:09:30.879 Depending on preferences 152 00:09:30.879 --> 00:09:34.780 Nevertheless, it's crucial to have a precise target audience at the center 153 00:09:34.780 --> 00:09:40.539 And Analyzing whether there are corners around that center where various needs 154 00:09:40.539 --> 00:09:43.020 Of different ages, genders, 155 00:09:43.020 --> 00:09:47.419 And races can be met within each storytelling element 156 00:09:47.419 --> 00:09:51.179 Is considered vital 157 00:09:51.179 --> 00:09:53.580 In character creation 158 00:09:53.580 --> 00:09:58.859 So, successful works fulfill the quadrant law 159 00:09:58.859 --> 00:10:05.179 I only mentioned women, men, young, and old here 160 00:10:05.179 --> 00:10:08.140 But in reality, gender is also diverse 161 00:10:08.140 --> 00:10:11.179 Therefore, depending on the type of animation you're creating, 162 00:10:11.179 --> 00:10:16.940 The composition of the four quadrants can vary 163 00:10:16.940 --> 00:10:20.380 When a work fulfills only one quadrant, 164 00:10:20.380 --> 00:10:24.859 There should be sufficient reason to exclude the remaining 75% 165 00:10:24.859 --> 00:10:27.419 In animation, however, there are cases like this 166 00:10:27.419 --> 00:10:29.900 For example, Japanese animations are 167 00:10:29.900 --> 00:10:33.580 Currently very popular on OTT platforms 168 00:10:33.580 --> 00:10:36.859 Among them, there are quite gory animations 169 00:10:36.859 --> 00:10:40.059 With high levels of action and violence 170 00:10:40.059 --> 00:10:42.859 Which are specifically targeted at certain age groups 171 00:10:42.859 --> 00:10:45.260 There are also animations that are calculated and 172 00:10:45.260 --> 00:10:50.539 Created with a target audience of only 18 years old and above 173 00:10:50.539 --> 00:10:57.020 Where the other 75% doesn't need to be considered 174 00:10:57.020 --> 00:10:59.716 However, if we are creating animation 175 00:10:59.716 --> 00:11:03.500 That appeals to families or all age groups, 176 00:11:03.500 --> 00:11:06.940 The quadrant law plays a very important role 177 00:11:06.940 --> 00:11:12.940 However, trying to satisfy all ages, genders, and races from the early planning stages 178 00:11:12.940 --> 00:11:17.020 Can lead to a very scattered story line if we keep adding this and that to expand it 179 00:11:17.020 --> 00:11:23.149 So, especially during the planning phase, it's important to consider what elements the characters possess 180 00:11:23.149 --> 00:11:28.219 And whether my characters can appeal to a specific age group and gender 181 00:11:28.219 --> 00:11:34.780 Okay, I want elementary school students to watch it 182 00:11:34.780 --> 00:11:37.580 Counting that elementary students may think that they want to become like the characters 183 00:11:37.580 --> 00:11:42.010 For example, there is a domestic series called "Tobot," 184 00:11:42.010 --> 00:11:44.380 Which was hugely successful in selling toys 185 00:11:44.380 --> 00:11:47.020 Although the animation didn't have very high quality, 186 00:11:47.020 --> 00:11:53.659 there was a time when boys in lower grades of elementary school lined up 187 00:11:53.659 --> 00:11:58.380 To buy all the transformation robots of Tobot and a lot of toys were sold 188 00:11:58.380 --> 00:12:03.260 In the end, that's what it was 189 00:12:03.260 --> 00:12:06.718 Boys similar to me or older brothers operated the robots? 190 00:12:06.718 --> 00:12:09.820 The robot being controlled transforms into a car from a specific domestic brand that we know? 191 00:12:09.820 --> 00:12:13.020 Oh? That's the same as our mom and dad's car? 192 00:12:13.020 --> 00:12:15.020 It drew a lot of empathy 193 00:12:15.020 --> 00:12:18.195 Therefore understanding how my character will resonate 194 00:12:18.195 --> 00:12:24.299 With specific age groups and genders is crucial during the planning process 195 00:12:24.299 --> 00:12:25.979 There's something called the trend list 196 00:12:25.979 --> 00:12:28.859 The trend list isn't just about what's popular 197 00:12:28.859 --> 00:12:33.559 In fashion in fashion, TV shows, or OTT platforms nowadays 198 00:12:33.559 --> 00:12:38.219 It's about defining what my own trend is, not just talking about what's hot in those areas 199 00:12:38.219 --> 00:12:43.500 There are many new trends emerging in family structure as well 200 00:12:43.500 --> 00:12:47.500 In the past, family structures were often extended families 201 00:12:47.500 --> 00:12:51.659 But now, we've transitioned past the nuclear family era 202 00:12:51.659 --> 00:12:55.820 There are many single-person households, and cultures like single moms and single dads are emerging 203 00:12:55.820 --> 00:13:00.140 It's become incredibly diverse and how people take it is also different 204 00:13:00.140 --> 00:13:06.940 So, it's very important to observe various cultural, societal, and pop culture 205 00:13:06.940 --> 00:13:12.208 Trends to understand how they might influence my character and story 206 00:13:12.208 --> 00:13:15.020 And how one can incorporate them 207 00:13:15.020 --> 00:13:19.659 Because success and failure in love are universally relatable experiences at any age, 208 00:13:19.659 --> 00:13:25.900 it's important to focus on the core elements of immutable human emotions 209 00:13:25.900 --> 00:13:31.979 However, how you package those emotions within current trends is also very important 210 00:13:32.850 --> 00:13:36.820 Creating the background of the story's universe and developing characters 211 00:13:36.820 --> 00:13:44.594 The playground of the universe, where characters move, play, 212 00:13:44.594 --> 00:13:48.384 And engage in activities, is crucial for character development and storytelling 213 00:13:48.384 --> 00:13:54.415 Let's start by exploring the basic research on the background of the story universe and then dig into character development 214 00:13:54.415 --> 00:13:57.253 First, let's focus on the background of the story universe 215 00:13:57.253 --> 00:14:01.675 Secondly, let's delve into the background history of the universe 216 00:14:01.675 --> 00:14:03.855 Next, the third step would be character archetype selection 217 00:14:03.855 --> 00:14:08.108 Following that, let's explore the fourth step, which involves character development and change 218 00:14:08.108 --> 00:14:11.052 We need to establish the foundation of the story universe 219 00:14:11.052 --> 00:14:16.881 The universe can be formed by integrating various backgrounds and complexities 220 00:14:16.881 --> 00:14:23.231 My character's background can't be limited to just one setting, it's a blend of various backgrounds 221 00:14:23.231 --> 00:14:27.263 The background I'm referring to includes not only the physical setting 222 00:14:27.266 --> 00:14:32.186 but also the world in which he or she lives 223 00:14:32.186 --> 00:14:35.754 So, I need to establish the primary world-building background 224 00:14:35.754 --> 00:14:39.306 Here are four primary examples are 225 00:14:39.306 --> 00:14:42.524 That way, we can clearly communicate to the audience 226 00:14:42.524 --> 00:14:48.935 What personality this story possesses and which genre it's heading towards 227 00:14:48.935 --> 00:14:52.116 Setting up a background and context that allows for the realization 228 00:14:52.116 --> 00:14:57.402 Of a unique and original story is crucial for the development of characters 229 00:14:57.402 --> 00:15:03.006 Ultimately, these elements influence the aesthetic aspects when represented visually in a video 230 00:15:03.006 --> 00:15:05.517 A great scenario presents well-developed characters 231 00:15:05.517 --> 00:15:10.465 And their interactions with the backdrop effectively 232 00:15:10.465 --> 00:15:14.195 Ultimately, since animation isn't a solo effort, 233 00:15:14.195 --> 00:15:19.783 When animation staff see such a clear world 234 00:15:19.783 --> 00:15:22.887 And backdrop in the scenario, they'll be able to express excellent visuals 235 00:15:22.887 --> 00:15:26.726 Let's explore examples of story world-building backgrounds 236 00:15:26.726 --> 00:15:28.647 The first is a realistic setting 237 00:15:28.647 --> 00:15:31.517 The reality, 238 00:15:31.517 --> 00:15:37.020 It would likely be the backdrop that resonates most with the target audience 239 00:15:37.020 --> 00:15:40.460 Examples would be a story of home, 240 00:15:40.460 --> 00:15:48.160 Family, school, festival, theme park, farm, villa, shopping mall, zoo, sports, or games 241 00:15:48.160 --> 00:15:51.979 There's a superhero animation called "The Incredibles 242 00:15:51.979 --> 00:15:53.979 It's a Pixar animation about a superhero family 243 00:15:53.979 --> 00:15:58.780 Called "The Incredibles," 244 00:15:58.780 --> 00:16:02.140 But the storytelling itself is centered around the family 245 00:16:02.140 --> 00:16:08.780 It focuses on family dynamics such as trust among family members, family issues, and the challenges of raising a teenage son and daughter 246 00:16:08.780 --> 00:16:12.619 So, it starts from a very realistic backdrop 247 00:16:12.619 --> 00:16:16.780 My story will have elements of fantasy and real life issues 248 00:16:16.780 --> 00:16:20.380 But what is the main background 249 00:16:20.380 --> 00:16:24.780 Is this a story of a family or restoring family bonds 250 00:16:24.780 --> 00:16:29.419 Or is it centered around a specific profession like police officers or firefighters? 251 00:16:29.419 --> 00:16:33.739 Or is it a school based story, a school drama 252 00:16:33.739 --> 00:16:37.179 For Webtoons or animations like that 253 00:16:37.179 --> 00:16:40.859 It's important to establish the primary setting first 254 00:16:40.859 --> 00:16:45.820 It seems like most of these fall into the category of realistic backgrounds, ones that we can easily relate to in our everyday lives 255 00:16:45.820 --> 00:16:48.460 The second is a fantasy background 256 00:16:48.460 --> 00:16:56.940 Fantasy typically involves elements like fairy tales, legends, dinosaurs, pirates, 257 00:16:56.940 --> 00:17:00.043 Or supernatural powers 258 00:17:00.043 --> 00:17:05.739 That are somewhat surreal or beyond what we see in reality 259 00:17:05.739 --> 00:17:08.219 In such cases, the fantasy backdrop takes precedence 260 00:17:08.219 --> 00:17:12.581 With real-life issues, action oriented plots, and societal issues 261 00:17:12.581 --> 00:17:17.339 Serving as additional elements within that fantasy world 262 00:17:17.339 --> 00:17:23.260 We would still refer to it as a fantasy setting 263 00:17:23.260 --> 00:17:27.739 Next, when we talk about "activity," 264 00:17:27.739 --> 00:17:33.500 Such as stories about martial arts or cooking 265 00:17:33.500 --> 00:17:36.459 It refers to specific activities 266 00:17:36.459 --> 00:17:39.099 Then, the activity will be the main setting 267 00:17:39.099 --> 00:17:44.300 Then, when we say "issue," it refers to storytelling about social issues, 268 00:17:44.300 --> 00:17:49.819 Such as conflicts with friends, bullying at school, 269 00:17:49.819 --> 00:17:54.060 Or stories stemming from parental divorce 270 00:17:54.060 --> 00:18:00.140 It could also involve societal issues like racial conflicts 271 00:18:00.140 --> 00:18:02.619 And then, we need to establish the character types 272 00:18:02.619 --> 00:18:06.540 We need to establish character types that align well with the content 273 00:18:06.540 --> 00:18:11.500 Whether they are main, supporting, or minor characters 274 00:18:11.500 --> 00:18:15.500 Let's first look at the first character type 275 00:18:15.500 --> 00:18:18.780 Is it a character who inspires dreams and courage? 276 00:18:18.780 --> 00:18:24.780 So, a character who inspires dreams and courage isn't necessarily someone who gives lectures or speaks in a hopeful tone 277 00:18:24.780 --> 00:18:30.060 Rather, they're someone you look up to and think, 278 00:18:30.060 --> 00:18:33.579 "I want to be like that person" or "That person is so cool." 279 00:18:33.579 --> 00:18:36.859 They're characters like Spider-Man, Batman, or Iron Man, 280 00:18:36.859 --> 00:18:39.579 Who have superpowers beyond human abilities but also possess human qualities 281 00:18:39.579 --> 00:18:44.459 If they only have superpowers without any human traits, it wouldn't be interesting 282 00:18:44.459 --> 00:18:48.380 Such characters said to be 283 00:18:48.380 --> 00:18:49.900 Very inspiring with dreams and courage, but they're also human 284 00:18:49.900 --> 00:18:54.140 Or characters who are like friends or colleagues, 285 00:18:54.140 --> 00:18:55.900 Who initially face hardships 286 00:18:55.900 --> 00:19:00.619 But eventually overcome them with their own strength 287 00:19:00.619 --> 00:19:04.140 For example, there are some Hollywood movies 288 00:19:04.140 --> 00:19:09.260 That have been regulars during Thanksgiving and Christmas for decades 289 00:19:09.260 --> 00:19:10.619 It's really popular 290 00:19:10.619 --> 00:19:13.979 How was this "Home Alone" movie very successful? 291 00:19:13.979 --> 00:19:17.180 They're all like me, completely unrealistic characters 292 00:19:17.180 --> 00:19:22.939 Eventually, he uses his imagination to defend his home and catch the thieves 293 00:19:22.939 --> 00:19:24.939 So, there are characters 294 00:19:24.939 --> 00:19:27.180 Who are like friends or colleagues, 295 00:19:27.180 --> 00:19:32.060 Characters that make you think, "I could do that too," 296 00:19:32.060 --> 00:19:35.579 Or there are supportive side characters who guide you 297 00:19:35.579 --> 00:19:37.260 There are characters like mentors, 298 00:19:37.260 --> 00:19:39.500 Such as Yoda from Star Wars, 299 00:19:39.500 --> 00:19:41.900 Or in Pixar's animation Ratatouille, 300 00:19:41.900 --> 00:19:45.900 Where a famous chef, deceased, 301 00:19:45.900 --> 00:19:50.699 Appears as a ghost to offer advice whenever the mouse struggles with cooking 302 00:19:50.699 --> 00:19:53.739 There are also guardian-like characters 303 00:19:53.739 --> 00:19:57.819 Surprisingly, many characters people empathize with are weaker or less capable than oneself 304 00:19:57.819 --> 00:20:00.380 For an easy example, 305 00:20:00.380 --> 00:20:02.219 Take Shin-chan from Crayon Shin-chan 306 00:20:02.219 --> 00:20:04.380 He's quite foolish, 307 00:20:04.380 --> 00:20:05.979 A bit dimwitted 308 00:20:05.979 --> 00:20:08.619 But also has a lot of charm 309 00:20:08.619 --> 00:20:11.339 And he makes a lot of entertaining actions 310 00:20:11.339 --> 00:20:12.540 SpongeBob SquarePants Is another example 311 00:20:12.540 --> 00:20:15.739 he often says nonsensical things 312 00:20:15.739 --> 00:20:18.780 And acts like a fool, 313 00:20:18.780 --> 00:20:20.699 but in the end, 314 00:20:20.699 --> 00:20:23.339 with the help of other characters, 315 00:20:23.339 --> 00:20:26.699 He carries the story forward in an entertaining way 316 00:20:26.699 --> 00:20:28.380 Romantic character 317 00:20:28.380 --> 00:20:31.339 Charming men and women 318 00:20:31.339 --> 00:20:37.180 There are also somewhat wicked but charming characters who stray from the boundaries of morality 319 00:20:37.180 --> 00:20:41.260 Like the movie called "Despicable me" with Minions 320 00:20:41.260 --> 00:20:43.339 In there, you'll find that character called Gru, the villain 321 00:20:43.339 --> 00:20:47.339 He was born from the question, "How can I do a lot of bad things?" 322 00:20:47.339 --> 00:20:51.339 Also, the minions are actually henchmen of the villain 323 00:20:51.339 --> 00:20:53.020 And they're never morally upright 324 00:20:53.020 --> 00:20:55.260 They even play rough with each other, hitting and messing around 325 00:20:55.260 --> 00:20:57.579 But it's really enjoyable 326 00:20:57.579 --> 00:21:00.859 And most importantly, villains are never easy opponents 327 00:21:00.859 --> 00:21:02.938 Someone like Batman's Joker 328 00:21:02.939 --> 00:21:09.979 A villain that wouldn't be easily defeated by anyone 329 00:21:09.979 --> 00:21:13.180 You also need to carefully consider characters 330 00:21:13.180 --> 00:21:17.579 Like who could potentially steal away the person you love 331 00:21:17.579 --> 00:21:22.859 You should carefully examine such types and establish their characteristics 332 00:21:22.859 --> 00:21:26.140 Characters undergo changes 333 00:21:26.140 --> 00:21:28.939 There can't be a character that never changes 334 00:21:28.939 --> 00:21:32.469 If characters don't change, 335 00:21:32.469 --> 00:21:37.579 The movie or series cannot succeed 336 00:21:37.579 --> 00:21:40.459 Characters need to have goals 337 00:21:40.459 --> 00:21:43.420 And respond to major changes challenges, and setbacks 338 00:21:43.420 --> 00:21:45.900 Do goals arise from the beginning? Not necessarily 339 00:21:45.900 --> 00:21:52.140 But gradually, as changes, challenges, and events occur, 340 00:21:52.140 --> 00:21:55.500 Conflicts arise, and sometimes conflicts aren't resolved 341 00:21:55.500 --> 00:21:58.380 Sometimes conflicts continues 342 00:21:58.380 --> 00:21:59.979 And then finally, 343 00:21:59.979 --> 00:22:03.900 They face a major conflict and resolve it 344 00:22:03.900 --> 00:22:09.180 So, characters go through processes of challenge, setback, and achievement, 345 00:22:09.180 --> 00:22:12.780 Ultimately undergoing physical change 346 00:22:12.780 --> 00:22:15.099 Supernatural changes 347 00:22:15.099 --> 00:22:16.699 Emotional changes 348 00:22:16.699 --> 00:22:19.020 Or, changes caused by external factors causing 349 00:22:19.020 --> 00:22:23.979 Therefore, it's essential to remember that characters must constantly change 350 00:22:23.979 --> 00:22:29.260 To provide viewers with various forms of entertainment 351 00:22:29.260 --> 00:22:31.739 Character creation 352 00:22:31.739 --> 00:22:34.780 First, who will be my protagonist? 353 00:22:34.780 --> 00:22:39.500 As the one writing the scenario, 354 00:22:39.500 --> 00:22:42.060 I should understand him or her the best 355 00:22:42.060 --> 00:22:44.699 If that's not the case, others won't be able to do better 356 00:22:44.699 --> 00:22:46.780 Therefore, who is my protagonist 357 00:22:46.780 --> 00:22:51.020 Second, you need to study the protagonist's behavioral patterns 358 00:22:51.020 --> 00:22:53.500 Third, you need to learn about 359 00:22:53.500 --> 00:22:56.859 The four elements of character creation 360 00:22:56.939 --> 00:22:59.819 And be able to answer Questions about my character 361 00:22:59.819 --> 00:23:03.819 From character creation questionnaires 362 00:23:03.819 --> 00:23:07.819 Who is my protagonist? 363 00:23:07.819 --> 00:23:10.619 For Hollywood directors, 364 00:23:10.619 --> 00:23:14.780 There are times when I rehearse with the actors 365 00:23:14.780 --> 00:23:17.979 I've seen famous actors like Tom Cruise 366 00:23:17.979 --> 00:23:21.339 Reading something during rehearsals in certain movies 367 00:23:21.339 --> 00:23:23.579 I've seen a behind the scenes story where Tom Cruise, 368 00:23:23.579 --> 00:23:26.548 Who plays a hitman in a movie called "Collateral," 369 00:23:26.548 --> 00:23:28.540 Directed by the renowned director Michael Mann 370 00:23:28.540 --> 00:23:31.739 He is seen reading something during rehearsals 371 00:23:31.739 --> 00:23:35.579 He portrays a hitman who comes to Los Angeles 372 00:23:35.579 --> 00:23:42.380 to carry out assassinations 373 00:23:42.380 --> 00:23:43.660 That's the story of the movie 374 00:23:43.660 --> 00:23:47.180 During rehearsals, Tom Cruise, 375 00:23:47.180 --> 00:23:50.060 I mean "the Tom Cruise" 376 00:23:50.060 --> 00:23:52.300 Was given a piece of paper 377 00:23:52.300 --> 00:23:54.619 On that paper, details about the character were written, 378 00:23:54.619 --> 00:23:58.939 Such as their name, birthplace, age when their father died, 379 00:23:58.939 --> 00:24:01.260 Experiences of domestic violence 380 00:24:01.260 --> 00:24:02.939 And the character's entire life story 381 00:24:02.939 --> 00:24:06.060 Character's whole life was in that piece of paper 382 00:24:06.060 --> 00:24:08.219 The director and the screenwriter 383 00:24:08.219 --> 00:24:11.260 meticulously crafted the life story of a character 384 00:24:11.260 --> 00:24:14.780 Which doesn't appear in the film, and Tom Cruise was studying it 385 00:24:14.780 --> 00:24:17.660 That's a very important point, even in animation 386 00:24:17.660 --> 00:24:18.939 "Who my protagonist is" is 387 00:24:18.939 --> 00:24:22.380 Not just Knowing who that protagonist is, but about understanding their surface level 388 00:24:22.380 --> 00:24:25.177 Writing out their life story can be incredibly beneficial 389 00:24:25.177 --> 00:24:27.979 So, who is the protagonist, and how it was like growing up 390 00:24:27.979 --> 00:24:31.099 What environment did they grow up in, and why did they end up where they are now? 391 00:24:31.099 --> 00:24:33.900 And what did the protagonist initially desire? 392 00:24:33.900 --> 00:24:37.420 It's important to understand the difference between wants and needs 393 00:24:37.420 --> 00:24:40.859 Want is not the story it's just a person 394 00:24:40.859 --> 00:24:44.939 They're not necessarily the protagonist, just one of the people, either Person 1 or Person 2 395 00:24:44.939 --> 00:24:47.260 But as the desire for needs gets stronger 396 00:24:47.260 --> 00:24:48.715 Then, they born as a protagonist, then 397 00:24:48.715 --> 00:24:51.500 So, think about what they initially want 398 00:24:51.500 --> 00:24:55.339 And then, what does the protagonist want in the middle of the story? 399 00:24:55.339 --> 00:24:58.619 In the middle of the story, we often see the distinction between what they want and what they need 400 00:24:58.619 --> 00:25:02.219 The midpoint between what they want and what they need to do 401 00:25:02.219 --> 00:25:05.979 And what the protagonist ultimately want to achieve 402 00:25:05.979 --> 00:25:08.060 The ultimate goal 403 00:25:08.060 --> 00:25:10.859 That usually becomes clear towards the end 404 00:25:10.859 --> 00:25:13.339 And then, there's often something or someone, 405 00:25:13.339 --> 00:25:16.540 Whether it's a person, a situation, or an object 406 00:25:16.540 --> 00:25:19.579 Often, there's another villain 407 00:25:19.579 --> 00:25:23.420 They don't necessarily hinder the protagonist's circumstances 408 00:25:23.420 --> 00:25:25.099 Sometimes, in certain movies, 409 00:25:25.099 --> 00:25:27.579 Protagonist is there but there aren't many villains 410 00:25:27.579 --> 00:25:32.380 The societal situation itself can become the antagonist 411 00:25:32.380 --> 00:25:34.300 It can provoke conflict 412 00:25:34.300 --> 00:25:39.579 For example, if a ethnic person or Asian is portrayed as the protagonist in a heavily discriminating society 413 00:25:39.579 --> 00:25:42.540 That discrimination could become 414 00:25:42.540 --> 00:25:45.819 The societal factor that is 415 00:25:45.819 --> 00:25:48.780 The first obstacle to the protagonist's dreams 416 00:25:48.780 --> 00:25:51.180 Furthermore, in such scenarios, creators might be used 417 00:25:51.180 --> 00:25:53.660 To express those instances 418 00:25:53.660 --> 00:25:57.099 Moreover, if people often overlook this perspective 419 00:25:57.099 --> 00:26:00.939 When writing scenarios 420 00:26:00.939 --> 00:26:04.219 It's often because students or novice writers 421 00:26:04.219 --> 00:26:08.060 Might find it challenging 422 00:26:08.060 --> 00:26:10.219 However, a helpful technique is to consider the inverse 423 00:26:10.219 --> 00:26:12.219 By imagining your protagonist facing failure 424 00:26:12.219 --> 00:26:17.208 It can often provide an easier entry point for character development 425 00:26:17.208 --> 00:26:19.660 So, if the protagonist were to fail, 426 00:26:19.660 --> 00:26:21.420 What will happen? 427 00:26:21.420 --> 00:26:22.780 How the world will change 428 00:26:22.780 --> 00:26:25.180 What about this world? 429 00:26:25.180 --> 00:26:27.819 I recommend for you to look into that 430 00:26:27.819 --> 00:26:31.579 Studying the protagonist's behavioral patterns you can use it like this 431 00:26:31.579 --> 00:26:34.380 In the beginning, what kind of environment is the protagonist in? 432 00:26:34.380 --> 00:26:37.099 Where do they live doing what for living? 433 00:26:37.099 --> 00:26:41.420 In the next act, how does the protagonist become isolated? 434 00:26:41.420 --> 00:26:43.979 Certain event causes the protagonist to become isolated 435 00:26:43.979 --> 00:26:45.900 Next, in Act 2, Scene 1, 436 00:26:45.900 --> 00:26:48.380 What kind of world does the protagonist find themselves in? 437 00:26:48.380 --> 00:26:52.219 What are the circumstances, and how does the protagonist adapt to them? 438 00:26:52.219 --> 00:26:54.140 How do they go about exploring it? 439 00:26:54.140 --> 00:26:55.579 Things have to revolve around the protagonist 440 00:26:55.579 --> 00:26:57.739 The protagonist must be the no.1 consideration 441 00:26:57.739 --> 00:27:02.060 And in Act 2, Scene 2, what event prompts the protagonist 442 00:27:02.060 --> 00:27:05.500 How to respond and what transformation do they undergo as a result? 443 00:27:05.500 --> 00:27:07.500 And finally, in Act 3, what occurs? 444 00:27:07.500 --> 00:27:10.939 How does the protagonist make the ultimate sacrifice 445 00:27:10.939 --> 00:27:13.180 and what action in the final moments 446 00:27:13.180 --> 00:27:15.099 Decorates the climax 447 00:27:15.099 --> 00:27:18.380 To create compelling characters like this, 448 00:27:18.380 --> 00:27:21.180 It's important to start by outlining the situation the protagonist finds themselves in, 449 00:27:21.180 --> 00:27:26.619 Focusing on the protagonist's perspective 450 00:27:26.619 --> 00:27:30.300 By the time the climax hits and the conclusion unfolds, 451 00:27:30.300 --> 00:27:32.060 It ultimately boils down to what? 452 00:27:32.060 --> 00:27:35.579 This is the pinnacle moment 453 00:27:35.579 --> 00:27:37.500 Where the protagonist's ultimate goal is achieved 454 00:27:37.500 --> 00:27:41.260 In the end, the protagonist's ultimate or dramatic goal is achieved 455 00:27:41.260 --> 00:27:45.500 And the theme is often fully expressed 456 00:27:45.500 --> 00:27:47.979 The theme is the message conveyed 457 00:27:47.979 --> 00:27:51.339 By the director or screenplay writer, often expressed in a single sentence 458 00:27:51.339 --> 00:27:56.060 Even in comedy or romance films, there's always a theme 459 00:27:56.060 --> 00:27:58.380 So it's important to examine 460 00:27:58.380 --> 00:28:00.619 Whether that theme is clearly expressed 461 00:28:00.619 --> 00:28:04.459 Through the protagonist's final actions 462 00:28:04.459 --> 00:28:07.561 There are four key elements to character creation 463 00:28:07.561 --> 00:28:11.339 Well made or unique character creation leads the story 464 00:28:11.339 --> 00:28:14.619 Unique characters make special actions 465 00:28:14.619 --> 00:28:16.939 And also creates unique conflicts 466 00:28:16.939 --> 00:28:19.579 A unique conflict arises from unique events 467 00:28:19.579 --> 00:28:21.260 And unique events 468 00:28:21.260 --> 00:28:23.900 Will overall compose a special story 469 00:28:23.900 --> 00:28:27.579 So, characters should reveal their personality 470 00:28:27.579 --> 00:28:31.099 And essence not only through what they say but also through their actions 471 00:28:31.099 --> 00:28:34.699 It's essential to create a setting for the stage 472 00:28:34.699 --> 00:28:35.900 For creating good and appealing characters 473 00:28:35.900 --> 00:28:38.060 So, there are four elements to do just that 474 00:28:38.060 --> 00:28:40.780 The first is called dramatic demand 475 00:28:40.780 --> 00:28:43.900 Don't get confused with dramatic demands and wants 476 00:28:43.900 --> 00:28:46.380 Dramatic demand is dramatic needs 477 00:28:46.380 --> 00:28:49.500 The reason it's called "dramatic demand" is because 478 00:28:49.500 --> 00:28:50.699 It's extremely dramatic 479 00:28:50.699 --> 00:28:54.939 It's a demand or need so intense that it's either all or nothing 480 00:28:54.939 --> 00:28:57.260 All or nothing 481 00:28:57.260 --> 00:28:59.660 There's no in between, no room for alternatives 482 00:28:59.660 --> 00:29:03.180 It's either everything or nothing at all 483 00:29:03.180 --> 00:29:05.099 The character's initial desires may differ 484 00:29:05.099 --> 00:29:07.339 From their dramatic demands at the outset 485 00:29:07.339 --> 00:29:12.219 Dramatic demands typically emerge towards the end of Act 2 or early Act 3 486 00:29:12.219 --> 00:29:13.900 The second is the perspective 487 00:29:13.900 --> 00:29:18.140 How you view a particular situation from a certain perspective 488 00:29:18.140 --> 00:29:19.979 The third is change 489 00:29:19.979 --> 00:29:21.739 Characters change 490 00:29:21.739 --> 00:29:24.380 There are no characters who remain unchanged 491 00:29:24.380 --> 00:29:26.300 The fourth is attitude 492 00:29:26.300 --> 00:29:31.020 By utilizing these elements, 493 00:29:31.020 --> 00:29:33.260 Character traits and personalities can be enriched 494 00:29:33.339 --> 00:29:36.300 Allowing the character to become compelling 495 00:29:36.300 --> 00:29:38.699 Starting from the dramatic demand, 496 00:29:38.699 --> 00:29:41.420 It's what the character acquires or achieves in the story, 497 00:29:41.420 --> 00:29:43.339 Surpassing mere wants 498 00:29:43.339 --> 00:29:46.540 At first, 499 00:29:46.540 --> 00:29:50.219 I'll use the movie "Kung Fu Panda" as an example to explain 500 00:29:50.219 --> 00:29:52.939 The panda in "Kung Fu Panda" is named Po 501 00:29:52.939 --> 00:29:57.099 What does Po initially want? 502 00:29:57.099 --> 00:29:59.739 "I'm just a big, fat panda who loves to eat. 503 00:29:59.739 --> 00:30:01.979 Working at a noodle restaurant 504 00:30:01.979 --> 00:30:04.219 I just want to do some Kung Fu 505 00:30:04.219 --> 00:30:05.900 It's just for fun for him 506 00:30:05.900 --> 00:30:07.339 That's what wants is all about 507 00:30:07.339 --> 00:30:08.780 But what happens later on? 508 00:30:08.780 --> 00:30:11.579 So, how does he end up being mistakenly chosen as the Dragon Warrior 509 00:30:11.579 --> 00:30:14.699 Finding himself in a situation where he has to defeat the most fearsome villain in the village 510 00:30:14.699 --> 00:30:17.180 Through various experiences, 511 00:30:17.180 --> 00:30:21.979 He eventually transcends his mere wants 512 00:30:21.979 --> 00:30:24.939 And becomes a hero, fulfilling a need 513 00:30:24.939 --> 00:30:26.380 What are needs about then? 514 00:30:26.380 --> 00:30:32.859 If I don't defeat the villain, the whole village will be destroyed. It's going to be blown up 515 00:30:32.859 --> 00:30:34.140 What is that? 516 00:30:34.140 --> 00:30:38.300 There's no way out 517 00:30:38.300 --> 00:30:40.300 Dramatic need for an escape without a way out 518 00:30:40.300 --> 00:30:44.219 So the dramatic need requires a significant obstacle 519 00:30:44.219 --> 00:30:47.180 So, we need to establish the obstacles that must be overcome 520 00:30:47.180 --> 00:30:51.579 To achieve the dramatic need 521 00:30:51.579 --> 00:30:54.699 The perspective refers to how characters view the world, 522 00:30:54.699 --> 00:30:57.819 And ultimately, it's the conflicting viewpoints 523 00:30:57.819 --> 00:31:00.430 That trigger the conflict among them 524 00:31:00.430 --> 00:31:03.260 In Kung Fu Panda, what is Po's perspective? 525 00:31:03.260 --> 00:31:04.859 In Kung Fu Panda, Po 526 00:31:04.859 --> 00:31:06.859 Sees Kung Fu as something others can do, 527 00:31:06.859 --> 00:31:10.219 Something he can enjoy and have fun with 528 00:31:10.219 --> 00:31:13.900 He loves his friends, food, and the ease of life 529 00:31:13.900 --> 00:31:17.819 But what about Tai Lung, the villain? 530 00:31:17.819 --> 00:31:20.780 Kung Fu, for Tai Lung, is a means to dominate the world 531 00:31:20.780 --> 00:31:22.140 He has a different perspective toward Kung Fu 532 00:31:22.140 --> 00:31:25.099 So, clear and dramatic expressions of perspective 533 00:31:25.099 --> 00:31:27.789 Ultimately lead to actions based on those perspectives 534 00:31:27.789 --> 00:31:31.579 And those differing perspectives clash, resulting in conflict 535 00:31:31.579 --> 00:31:32.780 Next is change 536 00:31:32.780 --> 00:31:36.540 In a screenplay, characters should undergo both psychological and physical changes 537 00:31:36.540 --> 00:31:40.459 So, captivating characters are ordinary and flawed 538 00:31:40.459 --> 00:31:43.420 In the end, they are characters striving to achieve dramatic needs 539 00:31:43.420 --> 00:31:45.739 From loser to winner 540 00:31:45.739 --> 00:31:47.660 From thief to righteous individual 541 00:31:47.660 --> 00:31:49.180 From fool to hero 542 00:31:49.180 --> 00:31:54.459 Extreme examples make it more exciting 543 00:31:54.459 --> 00:31:57.260 Would it be interesting if a very handsome man, 544 00:31:57.260 --> 00:32:03.579 Very intelligent, with no personal growth or flaws, and perfect manners, 545 00:32:03.579 --> 00:32:05.660 Consistently succeeds in 546 00:32:05.660 --> 00:32:08.939 A romantic comedy from the start? 547 00:32:08.939 --> 00:32:10.859 I don't think so 548 00:32:10.859 --> 00:32:15.739 So, there always needs to be something ordinary and slightly flawed about them 549 00:32:15.739 --> 00:32:18.780 And they undergo at least two significant changes throughout the story 550 00:32:18.780 --> 00:32:20.859 In Kung Fu Panda, for example, 551 00:32:20.859 --> 00:32:28.060 How does the character Po a chubby, food-loving panda, change? 552 00:32:28.060 --> 00:32:30.780 In the end, he becomes a selfless character 553 00:32:30.780 --> 00:32:31.819 Feeling embarrassed about his initial selfish desire 554 00:32:31.819 --> 00:32:36.300 To learn Kung Fu just for himself, 555 00:32:36.300 --> 00:32:39.579 And instead realizes 556 00:32:39.579 --> 00:32:42.060 He must save his friends 557 00:32:42.060 --> 00:32:43.420 Attitudes 558 00:32:43.420 --> 00:32:45.819 Attitude never changes 559 00:32:45.819 --> 00:32:49.660 Despite various changes throughout a character's arc, 560 00:32:49.660 --> 00:32:51.020 Their essence or core traits often remain consistent 561 00:32:51.020 --> 00:32:52.380 Attitude toward certain things 562 00:32:52.380 --> 00:32:53.579 Attitude toward societal norms 563 00:32:53.579 --> 00:32:55.579 Or attitude toward others 564 00:32:55.579 --> 00:33:00.939 In Kung Fu Panda 1, the character Po has a very cheerful attitud 565 00:33:00.939 --> 00:33:02.300 He likes to eat 566 00:33:02.300 --> 00:33:04.060 Even if he became a super hero, 567 00:33:04.060 --> 00:33:06.380 The character's attitude don't change 568 00:33:06.380 --> 00:33:08.780 Cheerful characteristics don't ever change 569 00:33:08.780 --> 00:33:11.579 It can be considered crucial 570 00:33:11.579 --> 00:33:16.300 To depict how thoughts and actions change 571 00:33:16.300 --> 00:33:18.699 While maintaining that essence of attitude 572 00:33:18.699 --> 00:33:21.660 Character creation questionnaire list 573 00:33:21.660 --> 00:33:23.900 You have to ask constantly 574 00:33:23.900 --> 00:33:25.900 Who is your character? 575 00:33:25.900 --> 00:33:31.260 The protagonist, antagonist, and supporting characters all need to be analyzed thoroughly 576 00:33:31.260 --> 00:33:34.540 Otherwise, especially in animation 577 00:33:34.540 --> 00:33:37.819 There are often numerous characters with diverse traits 578 00:33:37.819 --> 00:33:40.939 The multitude of characters often overlap, 579 00:33:40.939 --> 00:33:43.900 With similar personalities and traits. Instead, each character, 580 00:33:43.900 --> 00:33:48.140 Whether protagonist, antagonist, 581 00:33:48.140 --> 00:33:50.219 Or supporting, 582 00:33:50.219 --> 00:33:53.500 Needs to have a unique personality 583 00:33:53.500 --> 00:33:57.180 They each have their own dramatic needs 584 00:33:57.180 --> 00:33:59.739 Their dramatic needs are different from one another and differ from the protagonist's wants 585 00:33:59.739 --> 00:34:04.219 And what each character is striving to achieve in the story 586 00:34:04.219 --> 00:34:09.340 And what propels them from beginning to end, is crucial 587 00:34:09.340 --> 00:34:13.020 Ultimately, try writing how the protagonist 588 00:34:13.020 --> 00:34:14.860 Drive the story from beginning to end 589 00:34:14.860 --> 00:34:20.219 And how the villain does the same 590 00:34:20.219 --> 00:34:23.659 Compare two characters 591 00:34:23.659 --> 00:34:26.060 It's important to see where they clash 592 00:34:26.060 --> 00:34:30.300 Character's point of view refers to how they perceive the world, 593 00:34:30.300 --> 00:34:34.060 The conflicts arising from different characters' perspectives, 594 00:34:34.060 --> 00:34:37.739 How characters change and how many times they change, 595 00:34:37.739 --> 00:34:39.979 And what the character's attitude is 596 00:34:40.060 --> 00:34:46.780 Attitude here refers to the essence of the character, the character's temperament 597 00:34:46.780 --> 00:34:51.179 A compelling character is born 598 00:34:51.179 --> 00:34:53.340 When you, as a screenwriter or creator, 599 00:34:53.340 --> 00:34:57.340 Intimately know that character as your alter ego 600 00:34:57.340 --> 00:35:02.219 So, instead of just focusing on the characters that appear on screen, 601 00:35:02.219 --> 00:35:03.899 It's important to analyze numerous factors 602 00:35:03.899 --> 00:35:09.419 And dig into the character's life before and after their on screen appearance 603 00:35:09.419 --> 00:35:14.300 This applies not only to the protagonist but also to the villain and supporting characters, 604 00:35:14.300 --> 00:35:17.739 Understanding the journeys 605 00:35:17.739 --> 00:35:19.739 And conflicts they undergo 606 00:35:19.739 --> 00:35:20.640 Thank you 607 00:35:22.253 --> 00:35:24.072 Summary Key Points in Story Development Successful concepts and stories must address both timeless human emotions and sentiments, as well as trends reflecting the changes of the times 608 00:35:24.072 --> 00:35:26.209 Learning about basic patterns and types of stories and protagonists Successful concepts and stories combine familiarity and uniqueness simultaneously Successful concepts and stories establish a clear target audience 609 00:35:26.209 --> 00:35:28.042 Based on this, the developmental stage should expand to meet the fulfillment factors Successful concepts and stories adhere to the 4 quadrants rule 610 00:35:28.042 --> 00:35:29.669 Successful concepts and stories need to clearly delineate and allocate the main worldview background 611 00:35:29.669 --> 00:35:31.578 Basic research and character setting for the background of the story's world Successful concepts and stories should establish characters that resonate with the content and appeal to the target age group 612 00:35:31.578 --> 00:35:33.438 The protagonist of successful concepts and stories undergoes a journey from meaningless existence to meaningful existence and undergoes transformation The protagonist of successful concepts and stories is often an unlikely hero 613 00:35:33.438 --> 00:35:35.283 Character Creation Analyzing the four elements of character creation dramatic needs, perspective, change, and attitude is crucial for crafting three dimensional characters 614 00:35:35.283 --> 00:35:37.194 All stories are propelled and sometimes delayed or advanced by three dimensional characters