WEBVTT

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WEBTOON Advanced
Let’s Create Characters Like This

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GCC Academy

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Defining Characters Through Their Actions

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Hello

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I’m a comic story writer

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and a storytelling instructor

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at the Comic Content School of Chungkang College of Cultural Industries

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Hi, I’m Hyerim Yang

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Today, we’re going to talk about characters

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How did you feel when you heard

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We're going to talk about characters!

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Did your heart skip a beat, just a little?

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When planning a story

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There are many different aspects to consider

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and one of the most exciting elements for many people

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is characters

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You’ve probably heard the term "bias"

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It means the favorite character

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It used to be a term mainly associated with subcultures

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But it’s become so common that

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hardly anyone asks, "What does that mean?"

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It has become common

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Talking about characters is always fun

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If there's a story or work, the next question is

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So, who's your favorite character?

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This question also applies to idols

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When someone mentions they like a particular idol group

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people often ask, "Who's your bias?"

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Many of you might even recall

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getting completely obsessed with characters you created yourself

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in elementary or middle school

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But do we really understand

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what the term "character" means?

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Let's take a moment to think about what a character really is

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When you consider the word character

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It clearly doesn't fit neatly into just one context

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I've thought of a few examples

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that might come to mind when you hear character

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The first example that came to mind

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was a recent news article titled

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The Korean Character Industry Is Facing a Crisis

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Now, does the term character in Korean Character Industry

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have anything to do with your bias?

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Maybe it does, perhaps it doesn’t

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When we hear about the character industry

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We usually think of familiar brands

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like Kakao Friends

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or characters from animations used

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for stationery or merchandise

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Using characters like Sanrio for business seems to

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fit the idea of the 'character industry'

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I’m not here to give you a definitive answer on

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whether this is connected to your bias or not

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But it’s something worth thinking about

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The second example has even less to do

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with the webtoons we enjoy

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What does it mean when someone says

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"This wine has character"?

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Does it mean there's a cute character drawn on the wine label?

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Wine enthusiasts would know

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But not really

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It usually means the wine has distinctive qualities

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unique traits

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or something special that sets it apart

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It's said like this

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The third example is the meaning of the character

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We're most familiar with

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The novel's characters are charming, but the story is pretty dull

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When we hear that

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We naturally picture specific individuals from the story

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It means the characters were well-crafted and appealing

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But the overall work wasn't very engaging

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Actually, this third point is somewhat tricky

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Can a work be uninteresting

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if its characters are compelling?

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Experts in storytelling often have different opinions on this

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We'll dive deeper into that discussion a bit later

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The term character

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is used in a variety of contexts

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However, since the examples I shared earlier

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came from newspapers and the Internet

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Let’s examine their dictionary definitions

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According to the Standard Korean Dictionary

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Character is defined as

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A person appearing in a novel, play, or similar work

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A person

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It also describes it as the personality and image revealed within the content of the work

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Let’s underline personality here

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The Korea University Korean Dictionary

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Another authoritative source

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defines character as

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A person appearing in works such as novels, plays, or comics

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or a being given distinctive traits

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based on its appearance or personality

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Let’s also underline distinctive traits in this definition

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Let’s focus on the terms

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personality and distinctive traits

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A character is indeed a person or figure

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But it must possess unique traits

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that set it apart from others

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These traits should include

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both external and internal qualities

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as the definitions mentioned earlier

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The key point here is that these traits must be distinctive

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meaning they should clearly differentiate the character from others

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This is the first example I mentioned

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which may be hard to understand

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Korea's character industry whatever

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The character here is related too

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It means

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When we look at certain character

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Let’s take Kakao Friends as an example

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For example, take the character Muzi

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There are certain traits that make Muzi, Muzi

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Muzi looks like this and a uniqe backstory

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Muzi is actually a pickled radish (danmuji)

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wearing a bunny suit

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Although Muzi wears a bunny costume to appear like a rabbit

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The true identity is still a pickled radish

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This concept includes both external and internal traits

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The external being the bunny suit

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and the internal being the desire to be seen as a rabbit

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It's like this

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For instance, imagine another company

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creating a character called Azzi

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Azzi is a pickled vegetable (jangazzi)

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wearing a squirrel costume

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Would we find this concept unique?

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Probably not

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Isn’t that copying Muzi?

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Did they just rip off the idea?

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We might even wonder like this

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This shows that when discussing the character industry

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people often focus solely on design

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However, it’s more than that

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A character must have distinctive traits

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Both external and internal that set it apart from others

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These unique characteristics

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define a character

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In this sense

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Even in the first example of

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the character industry

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The idea of distinctive traits

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is inherently included

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Let's get back to the story

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When creating a character

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with distinctive traits that set them

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should be included

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Let’s consider

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how to structure it with a clear example

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I’ll create one as an example

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Appearance

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A Korean man with black hair

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Black hair and fair skin

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While Koreans can have various hair colors

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and skin tones

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Let’s go with black hair, fair skin

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and a sharp jawline

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that gives off a cold impression

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He’s about 6'1" tall

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with a slender build

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To top it off, he usually wears suits

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Personality

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He has a cold and ruthless personality

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Trusting no one

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and never opening up to anyone

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He’s intelligent and quick-witted

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But deep down

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his harsh demeanor hides a profound loneliness

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What do you think?

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Do you get what a character is?

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Can you sense it?

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So, can we say a character

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is complete just with this?

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By defining their appearance and personality like this

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Can we confidently declare, "This is my character"?

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You can keep your answer in mind for now

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As I want to share what some notable story development experts have to say

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There are several well-known screenwriting gurus

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including Syd Field

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and Robert McKee

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the author of the storytelling bible Story

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If you were to describe a character like this to Robert McKee

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As I said before

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He has this appearance, wears suits

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Looks incredibly cool in them

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He's tall and handsome

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and deep down, he’s a lonely person

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What do you think of my character?

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Syd Field or Robert McKee would probably cross their arms and say

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That’s not a character

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Why would they say that?

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You might think it’s because the concept is too cliché

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Sorry

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I could only come up with this answer

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That's not the reason anyway

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The reason is that

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Syd Field defines character as action

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Earlier, I described a character’s appearance and personality

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While having distinctive traits

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that set them apart is important

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But something essential was missing, action

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Syd Field argues that

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a character is what they do

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Without action

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It's impossible to build

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or define a character

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That's what he's saying

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It’s not just Syd Field

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who emphasizes this

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Robert McKee also states that story is character

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What does this mean?

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When I first heard that

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I thought, 'What does that even mean?'

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Story is a character

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However, it simply explains the concept from a different perspective

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It's what it means

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Since this might still be hard to grasp

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Let me give you an example

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Consider the well-known work 'Death Note'

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Since it’s famous

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most of you might know it

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So I won’t worry too much about spoilers

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Death Note is about a model student named Light

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who accidentally comes across a notebook that kills anyone whose name is written in it

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He uses the notebook to try to become the god

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It's kind of a spoiler here

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but ultimately faces his downfall

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I just summarized the story for you

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When we flip this, it becomes a character description

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It means

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A model student who finds a notebook that can kill people by writing their names

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He uses it to become a god

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but ultimately fails and meets his downfall

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Which is Light

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See how the story itself defines the character?

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What's missing here, though

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is both the appearance and much of the inner personality

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There's a hint of the inner aspect

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since Light desires to become a god

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But a deeper inner conflict lies

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in the stark contrast between his outward and inward selves

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He acts righteous on the outside

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but harbors a dark and manipulative nature on the inside

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However, if we describe him simply as

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A note that people die, I mean, Death Note

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A person who obtains a Death Note and attempts to become a god

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but ultimately faces self-destruction

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All those details disappear

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Even so

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if Syd Field or Robert McKee

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were to define Light's character

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They would undoubtedly use this approach

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Because the story is the character to them

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Earlier, we created a character

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with black hair, fair skin, tall stature

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a cold demeanor, and sharp intelligence

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However, this character lacks any action

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or story

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If the concept of action feels abstract

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Let’s think about events

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What does this character actually do?

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The answer is: nothing

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It’s merely a profile of appearance and personality

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Robert McKee isn’t saying that appearance

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or personality aren’t necessary

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He didn't mean like that

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Instead, he’s emphasizing that

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they are far from sufficient

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A character within a story

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Design-based character, emoji character

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Even emojis these days

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tend to have their unique backstories

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Still, a story-based character must go beyond design

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and integrate deeply with the story

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We mentioned that Light is handsome

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and that he says one thing and means another

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This profile exists because

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it’s necessary for the story

280
00:12:03.400 --> 00:12:06.039
Light hides his dark ambitions

281
00:12:06.039 --> 00:12:09.000
of becoming the god of the world

282
00:12:09.000 --> 00:12:12.080
His intelligence, the contrast between his outward and inner self

283
00:12:12.080 --> 00:12:14.599
and the many traits that make him appealing to others

284
00:12:14.599 --> 00:12:17.760
exist because

285
00:12:17.760 --> 00:12:20.280
they are necessary for the story

286
00:12:20.280 --> 00:12:21.840
The protagonist and antagonist

287
00:12:21.840 --> 00:12:25.159
The protagonist is essentially the main character

288
00:12:25.159 --> 00:12:28.239
While the antagonist opposes or hinders the protagonist

289
00:12:28.239 --> 00:12:29.520
Both are key figures

290
00:12:29.520 --> 00:12:31.640
For such major characters

291
00:12:31.640 --> 00:12:34.000
It’s even more critical to establish why they act the way they do

292
00:12:34.000 --> 00:12:36.200
and why settings make sense

293
00:12:36.200 --> 00:12:38.000
within the story

294
00:12:38.000 --> 00:12:40.960
Let’s add some depth to the character we previously created

295
00:12:40.960 --> 00:12:43.919
A tall man with black hair, fair skin

296
00:12:43.919 --> 00:12:48.559
and a sharp look in a suit

297
00:12:48.559 --> 00:12:50.960
Three years ago, my father passed away

298
00:12:50.960 --> 00:12:53.880
leaving me

299
00:12:53.880 --> 00:12:55.640
a lucrative construction company

300
00:12:55.640 --> 00:12:57.919
However, my two half-brothers contested the inheritance

301
00:12:57.919 --> 00:13:00.520
dragging me into a prolonged battle over management rights

302
00:13:00.520 --> 00:13:03.640
I'm desperate to end this tiresome dispute

303
00:13:03.640 --> 00:13:05.280
because I believe that unless I win

304
00:13:05.280 --> 00:13:08.159
I cannot prove my worth

305
00:13:08.159 --> 00:13:10.799
I fear that failing to prove myself

306
00:13:10.799 --> 00:13:14.520
will cause everyone around me to abandon me

307
00:13:14.520 --> 00:13:17.559
To secure my place, I focus relentlessly on redevelopment projects

308
00:13:17.559 --> 00:13:20.212
Even if it means demolishing areas where people are already living well

309
00:13:20.212 --> 00:13:23.840
In their place, I plan to build towering skyscrapers

310
00:13:23.840 --> 00:13:26.039
He's ruthless

311
00:13:26.039 --> 00:13:27.000
He's cruel

312
00:13:27.000 --> 00:13:29.760
I listen these words but don't care

313
00:13:29.760 --> 00:13:30.760
Because there’s no way

314
00:13:30.760 --> 00:13:32.760
to validate my value

315
00:13:32.760 --> 00:13:35.479
or prevent being left behind by those I care about

316
00:13:35.479 --> 00:13:38.559
One day, I met a woman

317
00:13:38.559 --> 00:13:40.509
A tea shop owner

318
00:13:40.509 --> 00:13:42.679
in the redevelopment area

319
00:13:42.679 --> 00:13:44.919
She was one of the very people I needed to displace

320
00:13:44.919 --> 00:13:48.000
As it turns out, she was the driving force behind the local community’s opposition

321
00:13:48.000 --> 00:13:51.039
to the redevelopment project

322
00:13:51.039 --> 00:13:52.954
At first, I assumed her approach was

323
00:13:52.954 --> 00:13:57.000
calculated and part of a scheme

324
00:13:57.000 --> 00:13:59.600
But over time, I realized that wasn’t the case

325
00:13:59.600 --> 00:14:03.119
Her quirky, honest nature slowly melted my heart

326
00:14:03.119 --> 00:14:06.799
The problem? She doesn’t know who I truly am

327
00:14:06.799 --> 00:14:10.400
She had no idea that I was the mastermind

328
00:14:10.400 --> 00:14:12.760
behind the redevelopment project

329
00:14:12.760 --> 00:14:15.760
She opens her heart to me and treats me warmly

330
00:14:15.760 --> 00:14:18.119
I find myself drawn to her

331
00:14:18.119 --> 00:14:21.679
Yet, in the end, I must demolish her tea shop

332
00:14:21.679 --> 00:14:24.039
and her neighbors' homes

333
00:14:24.039 --> 00:14:27.039
to ensure the redevelopment project's success

334
00:14:27.039 --> 00:14:28.599
I’m unsure what happens next

335
00:14:28.599 --> 00:14:29.640
Let’s leave it here for now

336
00:14:29.640 --> 00:14:31.960
For some of you

337
00:14:31.960 --> 00:14:35.039
Wait a second, weren’t we talking about characters?

338
00:14:35.039 --> 00:14:37.359
You might think like this

339
00:14:37.359 --> 00:14:39.039
What does this have to do with the characters?

340
00:14:39.039 --> 00:14:41.760
This just sounds like a story

341
00:14:41.760 --> 00:14:42.640
Exactly

342
00:14:42.640 --> 00:14:44.500
That’s the point Robert McKee was making

343
00:14:44.500 --> 00:14:46.799
The character is the story

344
00:14:46.799 --> 00:14:49.080
If a character doesn’t have clear desires

345
00:14:49.080 --> 00:14:50.719
Fears

346
00:14:50.719 --> 00:14:53.119
Decisions

347
00:14:53.119 --> 00:14:56.559
and actions that stem from those decisions

348
00:14:56.559 --> 00:15:00.640
It falls short of being a true character

349
00:15:00.640 --> 00:15:02.000
Hearing this

350
00:15:02.000 --> 00:15:05.880
You might suddenly feel like creating characters is difficult

351
00:15:05.880 --> 00:15:08.189
I just wanted to create a cold

352
00:15:08.189 --> 00:15:10.200
and calculating chaebol character

353
00:15:10.200 --> 00:15:11.394
Do I really need to create an entire story

354
00:15:11.394 --> 00:15:14.000
just to create a character?

355
00:15:14.000 --> 00:15:16.479
That sounds too hard

356
00:15:16.479 --> 00:15:18.000
To this, I’d say both

357
00:15:18.000 --> 00:15:20.400
Yes and no

358
00:15:20.400 --> 00:15:23.200
First, let me clear up any misunderstandings

359
00:15:23.200 --> 00:15:25.320
Stories as detailed as this one

360
00:15:25.320 --> 00:15:27.440
don’t just come together instantly from the start

361
00:15:27.440 --> 00:15:30.119
For those who are listening to my lecture

362
00:15:30.119 --> 00:15:32.840
You might be thinking, Wow, she is improvising an amazing story on the spot

363
00:15:32.840 --> 00:15:33.919
Everything fits together so perfectly

364
00:15:33.919 --> 00:15:36.119
You might think like that

365
00:15:36.119 --> 00:15:38.479
But in reality, I’ve spent a long time thinking about

366
00:15:38.479 --> 00:15:41.080
presenting an effective example

367
00:15:41.080 --> 00:15:42.520
for you

368
00:15:42.520 --> 00:15:44.719
How I created this example:

369
00:15:44.719 --> 00:15:48.000
I started by writing the first few lines

370
00:15:48.000 --> 00:15:50.080
I need to change this other section

371
00:15:50.080 --> 00:15:51.680
Next, I considered

372
00:15:51.680 --> 00:15:54.080
What if this character had deeper fears?

373
00:15:54.080 --> 00:15:56.440
What if they had specific desires?

374
00:15:56.440 --> 00:15:59.890
To emphasize those aspects, I added motivations like

375
00:15:59.890 --> 00:16:01.719
A fear of abandonment

376
00:16:01.719 --> 00:16:03.559
or longing for someone truly on their side

377
00:16:03.559 --> 00:16:05.400
It would be good to add those motivations

378
00:16:05.400 --> 00:16:08.239
This wasn’t a step-by-step process

379
00:16:08.239 --> 00:16:10.039
It was about filling in gaps

380
00:16:10.039 --> 00:16:13.159
as I went and gradually bringing everything together

381
00:16:13.159 --> 00:16:16.119
This is how stories and characters are shaped

382
00:16:16.119 --> 00:16:19.280
filling in the blanks as they take form

383
00:16:19.280 --> 00:16:21.128
Surprisingly, some people think

384
00:16:21.128 --> 00:16:22.960
professional writers don’t work this way

385
00:16:22.960 --> 00:16:25.000
But they do

386
00:16:25.000 --> 00:16:28.479
While developing their stories, 'It would be better if this character had this trait'

387
00:16:28.479 --> 00:16:30.119
or 'If they had this kind of past'

388
00:16:30.119 --> 00:16:33.119
'It would make the current event more impactful'

389
00:16:33.119 --> 00:16:35.760
For example, they might later decide that this character has a memory of being abandoned

390
00:16:35.760 --> 00:16:39.719
Adding such details happens more often than you’d expect

391
00:16:39.719 --> 00:16:42.520
This is why the point

392
00:16:42.520 --> 00:16:45.119
at which a character is complete is

393
00:16:45.119 --> 00:16:49.320
often the same as when the story is complete

394
00:16:49.320 --> 00:16:50.719
It’s almost like math

395
00:16:50.719 --> 00:16:52.919
Character is a story

396
00:16:52.919 --> 00:16:55.559
So, putting the character into the story

397
00:16:55.559 --> 00:16:57.080
naturally works

398
00:16:57.080 --> 00:16:58.280
Story is completed

399
00:16:58.280 --> 00:17:01.200
Then the character is also complete

400
00:17:01.200 --> 00:17:06.199
Only when the story reaches its conclusion does the character become a fully realized entity

401
00:17:06.199 --> 00:17:09.479
hat’s when we, as readers and writers

402
00:17:09.479 --> 00:17:10.537
can truly understand

403
00:17:10.537 --> 00:17:13.400
the characters in their entirety

404
00:17:13.400 --> 00:17:16.079
If writers think they fully understand their character

405
00:17:16.079 --> 00:17:19.319
before the story unfolds, that's a misconception

406
00:17:19.319 --> 00:17:21.040
Surprisingly, it's often during the story's progression

407
00:17:21.040 --> 00:17:22.959
especially at the climax

408
00:17:22.959 --> 00:17:25.199
that the writer realizes

409
00:17:25.199 --> 00:17:27.299
Ah, this character I created

410
00:17:27.299 --> 00:17:29.040
is the type to make this decision in this situation

411
00:17:29.040 --> 00:17:30.290
However, this realization is only possible

412
00:17:30.290 --> 00:17:34.620
because the writer has already laid out

413
00:17:34.620 --> 00:17:37.560
wealth of settings and groundwork beforehand

414
00:17:37.908 --> 00:17:41.789
Defining Characters Using Patterns

415
00:17:42.083 --> 00:17:43.840
Not all writing guides

416
00:17:43.840 --> 00:17:46.479
explain characters in this way

417
00:17:46.479 --> 00:17:48.429
Many of you may have already taken

418
00:17:48.429 --> 00:17:51.280
different courses or read materials on character creation

419
00:17:51.280 --> 00:17:54.640
You might think, 'What’s the point of describing a character’s appearance?'

420
00:17:54.640 --> 00:17:57.640
Does it really matter that Light has brown hair?

421
00:17:57.640 --> 00:17:59.800
You might think like this

422
00:17:59.800 --> 00:18:01.300
Or, I believe characters

423
00:18:01.300 --> 00:18:03.439
should always start with their appearance

424
00:18:03.439 --> 00:18:04.760
Things like this

425
00:18:04.760 --> 00:18:08.160
Here’s another perspective

426
00:18:08.160 --> 00:18:11.719
If you can mine the wealth of existing character patterns

427
00:18:11.719 --> 00:18:14.560
and create your unique list of patterns

428
00:18:14.560 --> 00:18:16.719
that becomes your individuality and originality

429
00:18:16.719 --> 00:18:19.760
Remember earlier when we said a key part of a character’s definition is personality?

430
00:18:19.760 --> 00:18:20.680
Similarly

431
00:18:20.680 --> 00:18:22.680
To pursue individuality and originality

432
00:18:22.680 --> 00:18:25.280
start by identifying character patterns

433
00:18:25.280 --> 00:18:28.400
Then select a few from the patterns

434
00:18:28.400 --> 00:18:30.199
others have used to create your unique list

435
00:18:30.199 --> 00:18:32.097
That becomes your originality

436
00:18:32.097 --> 00:18:34.497
This concept comes from Eiji Otsuka

437
00:18:34.497 --> 00:18:36.439
A Japanese editor and critic

438
00:18:36.439 --> 00:18:37.920
If someone like Robert McKee

439
00:18:37.920 --> 00:18:41.079
heard this approach, they'd probably say

440
00:18:41.079 --> 00:18:42.800
Creating characters using patterns?

441
00:18:42.800 --> 00:18:45.560
But characters are stories

442
00:18:45.560 --> 00:18:47.079
The term pattern itself

443
00:18:47.079 --> 00:18:50.119
can feel a bit unsettling for creators like us

444
00:18:50.119 --> 00:18:54.239
Because it doesn't feel like a creation

445
00:18:54.239 --> 00:18:57.640
After all, if patterns exist, they can be combined

446
00:18:57.640 --> 00:19:00.760
And if a character is created by combining this pattern

447
00:19:00.760 --> 00:19:02.520
with that pattern

448
00:19:02.520 --> 00:19:05.079
It might feel like you didn't

449
00:19:05.079 --> 00:19:06.719
create it from scratch

450
00:19:06.719 --> 00:19:09.599
Have you ever played this kind of game as a kid?

451
00:19:09.599 --> 00:19:12.439
You'd have multiple sketches of character hairstyles

452
00:19:12.439 --> 00:19:14.359
A selection of different eye designs

453
00:19:14.359 --> 00:19:15.640
and various face shapes

454
00:19:15.640 --> 00:19:18.920
Then, using a pencil or pen

455
00:19:18.920 --> 00:19:21.839
Your friend would say, "Stop!" then get the eye

456
00:19:21.839 --> 00:19:24.439
"Stop!" then the face shape

457
00:19:24.439 --> 00:19:26.760
The result would be your character

458
00:19:26.760 --> 00:19:28.959
And then you'd look at it and say, "What? Why do I look so weird?"

459
00:19:28.959 --> 00:19:30.439
We used to play this game a lot

460
00:19:30.439 --> 00:19:32.520
Watching my nieces play

461
00:19:32.520 --> 00:19:34.959
It seems like this game is still around

462
00:19:34.959 --> 00:19:36.680
But if we ask, “Is this creation?”

463
00:19:36.680 --> 00:19:39.439
We can’t help but feel a bit unsure

464
00:19:39.439 --> 00:19:41.880
Moreover, this approach contrasts significantly

465
00:19:41.880 --> 00:19:44.319
with the idea that

466
00:19:44.319 --> 00:19:46.199
A story is a character

467
00:19:46.199 --> 00:19:47.199
This argument

468
00:19:47.199 --> 00:19:49.959
views characters not as integrated entities

469
00:19:49.959 --> 00:19:52.280
within the larger context of a story

470
00:19:52.280 --> 00:19:55.479
but as creations assembled by combining various attributes

471
00:19:55.479 --> 00:19:58.640
To put it more clearly

472
00:19:58.640 --> 00:20:01.439
I just talked about different hairstyles

473
00:20:01.439 --> 00:20:03.119
Let’s give you pigtails

474
00:20:03.119 --> 00:20:04.000
and these specific eyes

475
00:20:04.000 --> 00:20:06.000
In essence, there’s not much difference

476
00:20:06.000 --> 00:20:08.199
Let’s give the character pink hair

477
00:20:08.199 --> 00:20:10.359
preferably in pigtails

478
00:20:10.359 --> 00:20:13.199
Add sharp canine teeth

479
00:20:13.199 --> 00:20:15.079
and slanted eyes

480
00:20:15.079 --> 00:20:18.280
and since they look like this, let’s make their personality softy

481
00:20:18.280 --> 00:20:21.079
For those unfamiliar, softy refers to a personality type

482
00:20:21.079 --> 00:20:22.640
where someone acts cold or indifferent, contrary to their true feelings

483
00:20:22.640 --> 00:20:24.000
This approach originates from subculture

484
00:20:24.000 --> 00:20:26.119
but has become a common term nowadays

485
00:20:26.119 --> 00:20:27.400
So I use it as is

486
00:20:27.400 --> 00:20:29.760
This combination method lacks

487
00:20:29.760 --> 00:20:30.839
Character choice

488
00:20:30.839 --> 00:20:32.479
Character’s lack

489
00:20:32.479 --> 00:20:35.520
Desires, actions, or decisions

490
00:20:35.520 --> 00:20:36.920
There's no room for those

491
00:20:36.920 --> 00:20:38.880
You end up with just their appearance

492
00:20:38.880 --> 00:20:43.359
and perhaps a single internal attribute, like being softy

493
00:20:43.359 --> 00:20:45.880
Earlier, I shared some profound ideas

494
00:20:45.880 --> 00:20:47.280
Though to be precise

495
00:20:47.280 --> 00:20:49.479
They came from Robert McKee and Syd Field

496
00:20:49.479 --> 00:20:51.880
After hearing those

497
00:20:51.880 --> 00:20:54.239
You might feel that creating characters based on appearance

498
00:20:54.239 --> 00:20:55.880
doesn’t seem quite right

499
00:20:55.880 --> 00:20:57.839
You might think like this

500
00:20:57.839 --> 00:21:00.640
Is this method wrong?

501
00:21:00.640 --> 00:21:02.199
What do you think I’m going to say?

502
00:21:02.199 --> 00:21:05.520
Surprisingly, I don’t think so

503
00:21:05.520 --> 00:21:06.920
Why?

504
00:21:06.920 --> 00:21:10.280
Because the medium we’re dealing with here is webtoons

505
00:21:10.280 --> 00:21:12.199
Webtoons are a form of comics

506
00:21:12.199 --> 00:21:14.479
and comics are inherently a symbolic medium

507
00:21:14.479 --> 00:21:16.079
That makes all the difference

508
00:21:16.079 --> 00:21:17.400
If this sounds unclear

509
00:21:17.400 --> 00:21:19.239
Let's compare it to movies

510
00:21:19.239 --> 00:21:21.680
Real humans portray

511
00:21:21.680 --> 00:21:24.667
characters in movies, right?

512
00:21:24.667 --> 00:21:27.040
Actors bring these characters to life

513
00:21:27.040 --> 00:21:29.973
Therefore

514
00:21:29.973 --> 00:21:32.760
While it’s often said that exceptionally talented actors

515
00:21:32.760 --> 00:21:34.560
can even 'act' handsomeness

516
00:21:34.560 --> 00:21:38.079
or even ugliness

517
00:21:38.079 --> 00:21:39.719
But we don't cast actors

518
00:21:39.719 --> 00:21:41.920
We create characters

519
00:21:41.920 --> 00:21:43.839
from scratch

520
00:21:43.839 --> 00:21:47.119
Comics, including webtoons, are fundamentally a medium that uses visual symbols

521
00:21:47.119 --> 00:21:49.400
When we see a character's looks

522
00:21:49.400 --> 00:21:51.520
We can often make assumptions about them

523
00:21:51.520 --> 00:21:55.479
For example, if a character has upturned eyes

524
00:21:55.479 --> 00:21:57.481
and small pupils

525
00:21:57.481 --> 00:22:00.972
We might think, 'This person seems villainous'

526
00:22:00.972 --> 00:22:03.400
or 'This character might be scheming something'

527
00:22:03.400 --> 00:22:06.050
Of course, this isn't something

528
00:22:06.050 --> 00:22:07.640
we'd apply to real people

529
00:22:07.640 --> 00:22:09.119
For instance, I have relatively small pupils myself

530
00:22:09.119 --> 00:22:10.599
But that doesn't mean I look devious

531
00:22:10.599 --> 00:22:12.359
That would just be a bias

532
00:22:12.359 --> 00:22:16.239
However, these kinds of assumptions are permissible in comics

533
00:22:16.239 --> 00:22:20.319
A character's appearance reflects the author's intent

534
00:22:20.319 --> 00:22:23.239
If the characters look scheming, the author deliberately designed them to appear that way

535
00:22:23.239 --> 00:22:26.160
If a character looks particularly kind

536
00:22:26.160 --> 00:22:28.479
The artist deliberately intended for them to look that way

537
00:22:28.479 --> 00:22:31.119
It’s not a coincidence

538
00:22:31.119 --> 00:22:34.359
In movies, characters might sometimes appear a certain way by chance

539
00:22:34.359 --> 00:22:35.959
But even in a film

540
00:22:35.959 --> 00:22:38.920
casting ensures minimal disparity

541
00:22:38.920 --> 00:22:40.280
compared to comics

542
00:22:40.280 --> 00:22:43.119
However, in comics, everything is created from scratch

543
00:22:43.119 --> 00:22:45.239
with the artist's intent

544
00:22:45.239 --> 00:22:49.079
so that you can infer a lot about a character just from their appearance

545
00:22:49.079 --> 00:22:51.319
Like you find out the protagonist right away

546
00:22:51.319 --> 00:22:53.680
For instance, if a new character suddenly shows up

547
00:22:53.680 --> 00:22:56.680
The protagonist falls into a trap

548
00:22:56.680 --> 00:23:00.719
"I didn’t think someone would fall into such a clumsy trap"

549
00:23:00.719 --> 00:23:03.189
"Neep some help?"

550
00:23:03.189 --> 00:23:06.199
This new character showed up

551
00:23:06.199 --> 00:23:07.920
It's strikingly handsome

552
00:23:07.920 --> 00:23:10.719
and is unusually well-drawn

553
00:23:10.719 --> 00:23:12.319
You’d likely think the character must be an important ally

554
00:23:12.319 --> 00:23:14.680
And most of the time, you'd be correct

555
00:23:14.680 --> 00:23:16.119
Or imagine a character

556
00:23:16.119 --> 00:23:20.015
without round pupils like others appears and says

557
00:23:20.015 --> 00:23:23.119
"Hello, this is our first meeting, isn’t it?"

558
00:23:23.119 --> 00:23:24.760
But has slit-shaped pupils

559
00:23:24.760 --> 00:23:26.359
He's probably not human

560
00:23:26.359 --> 00:23:28.520
Could it be a vampire? A dragon?

561
00:23:28.520 --> 00:23:30.400
You might immediately think like this

562
00:23:30.400 --> 00:23:32.439
This isn’t about biases

563
00:23:32.439 --> 00:23:34.880
or fandom culture

564
00:23:34.880 --> 00:23:36.839
You can't say that

565
00:23:36.839 --> 00:23:38.719
It’s a defining feature of the comic medium

566
00:23:38.719 --> 00:23:41.560
Comic symbols are highly conventionalized

567
00:23:41.560 --> 00:23:42.800
and we use them frequently

568
00:23:42.800 --> 00:23:45.959
For instance, a person doesn’t instantly break into a sweat when flustered

569
00:23:45.959 --> 00:23:48.319
But in comics

570
00:23:48.319 --> 00:23:50.670
We often draw a single bead of sweat dripping down their face

571
00:23:50.670 --> 00:23:52.760
This symbol is used not only in comedic works

572
00:23:52.760 --> 00:23:54.920
but also in serious ones

573
00:23:54.920 --> 00:23:58.560
Similarly, when a character is angry, their mouth may become very large

574
00:23:58.560 --> 00:24:01.040
Far beyond what is physically possible

575
00:24:01.040 --> 00:24:02.920
Yet, we immediately understand

576
00:24:02.920 --> 00:24:06.520
Oh, they’re furious

577
00:24:06.520 --> 00:24:09.800
I won’t draw like that

578
00:24:09.800 --> 00:24:11.800
It's too cliché, too cartoonish

579
00:24:11.800 --> 00:24:14.239
There’s no need to avoid these conventions

580
00:24:14.239 --> 00:24:16.800
These symbols are incredibly effective as a means of communication

581
00:24:16.800 --> 00:24:20.883
and are one of the great strengths of comics

582
00:24:20.883 --> 00:24:22.319
That said, there are cases

583
00:24:22.319 --> 00:24:24.348
a character might look extremely kind

584
00:24:24.348 --> 00:24:26.040
but later, it’s revealed they’re the villain

585
00:24:26.040 --> 00:24:28.199
This, too, is intentional

586
00:24:28.199 --> 00:24:31.040
The author deliberately misleads the reader

587
00:24:31.040 --> 00:24:34.000
For example, the kind character reassures everyone

588
00:24:34.000 --> 00:24:36.000
and gains their trust

589
00:24:36.000 --> 00:24:37.400
only to say later

590
00:24:37.400 --> 00:24:39.520
"He's completely let his guard down"

591
00:24:39.520 --> 00:24:41.319
"Soon, you'll learn"

592
00:24:41.319 --> 00:24:42.479
"tonight will be you're last night"

593
00:24:42.479 --> 00:24:43.439
At that moment

594
00:24:43.439 --> 00:24:44.239
The reader realizes

595
00:24:44.239 --> 00:24:45.520
He was evil all along

596
00:24:45.520 --> 00:24:47.980
This is done with intention

597
00:24:47.980 --> 00:24:50.520
So let's not pretend it was accidental or unintentional

598
00:24:50.520 --> 00:24:54.800
If there’s a clear intention, it’s understandable

599
00:24:54.800 --> 00:24:57.959
But if not, I don’t think there’s any need

600
00:24:57.959 --> 00:25:00.800
to confuse the readers unnecessarily

601
00:25:00.800 --> 00:25:02.800
Here’s what I mean

602
00:25:02.800 --> 00:25:04.680
This happened

603
00:25:04.680 --> 00:25:07.359
A certain author drew a character

604
00:25:07.359 --> 00:25:09.199
with vertical slit pupils

605
00:25:09.199 --> 00:25:10.800
As you know

606
00:25:10.800 --> 00:25:13.079
this is a symbolic device

607
00:25:13.079 --> 00:25:15.490
often used in comics

608
00:25:15.490 --> 00:25:17.680
to depict non-human beings

609
00:25:17.680 --> 00:25:18.760
Because, let’s face it

610
00:25:18.760 --> 00:25:22.800
No real human has slit pupils

611
00:25:22.800 --> 00:25:25.439
None of your friends have eyes like that, right?

612
00:25:25.439 --> 00:25:28.520
It’s more common in animals like cats

613
00:25:28.520 --> 00:25:30.599
So, when a character with slit pupils appears

614
00:25:30.599 --> 00:25:32.839
readers gets nervous

615
00:25:32.839 --> 00:25:34.319
Oh, they must be from a different species

616
00:25:34.319 --> 00:25:35.520
They’re pretending to be human

617
00:25:35.520 --> 00:25:37.920
However, in this story

618
00:25:37.920 --> 00:25:41.702
nothing about the character’s identity is revealed until the end

619
00:25:41.702 --> 00:25:43.199
2nd-year Class 3 of Sunny Middle School

620
00:25:43.199 --> 00:25:45.040
graduated happily ever after

621
00:25:45.040 --> 00:25:47.000
At that point, readers are left wondering

622
00:25:47.000 --> 00:25:48.400
Wait, so what was that character about?

623
00:25:48.400 --> 00:25:49.560
When asked

624
00:25:49.560 --> 00:25:51.599
The author might respond, "Oh, it's just a unique feature"

625
00:25:51.599 --> 00:25:53.119
"That’s just how they look"

626
00:25:53.119 --> 00:25:54.880
But readers can’t accept that explanation

627
00:25:54.880 --> 00:25:57.359
Based on the symbolic conventions built up over time

628
00:25:57.359 --> 00:25:59.760
readers would have expected the character to be from a different species

629
00:25:59.760 --> 00:26:01.520
The author might feel frustrated

630
00:26:01.520 --> 00:26:03.920
I just drew them that way because I wanted to

631
00:26:03.920 --> 00:26:06.199
Why should they have to be non-human?

632
00:26:06.199 --> 00:26:08.400
But I’d like to ask the author

633
00:26:08.400 --> 00:26:11.319
Then why did you create confusion for the readers?

634
00:26:11.319 --> 00:26:12.959
That's what I mean

635
00:26:12.959 --> 00:26:16.199
We've now explored both perspectives, 'A story is a character'

636
00:26:16.199 --> 00:26:19.599
and 'A character is a combination of elements'

637
00:26:19.599 --> 00:26:22.719
I imagine this might feel quite confusing

638
00:26:22.719 --> 00:26:25.880
On one hand, we said that a story defines a character

639
00:26:25.880 --> 00:26:29.280
so flipping the story gives you

640
00:26:29.280 --> 00:26:30.560
the character's explanation

641
00:26:30.560 --> 00:26:32.319
On the other hand

642
00:26:32.319 --> 00:26:34.680
We argued that creating a character

643
00:26:34.680 --> 00:26:38.000
by combining familiar elements from a database is perfectly fine

644
00:26:38.000 --> 00:26:42.420
The truth is when it comes to storytelling, creating narratives

645
00:26:42.420 --> 00:26:45.361
constructing plots, and shaping stories

646
00:26:45.361 --> 00:26:49.640
There's no single correct answer

647
00:26:49.640 --> 00:26:53.520
Stories evolve worldwide

648
00:26:53.520 --> 00:26:57.119
and what's considered right

649
00:26:57.119 --> 00:26:59.760
varies depending on the creator and the audience

650
00:26:59.760 --> 00:27:03.054
There are only stories that "I like"

651
00:27:03.054 --> 00:27:05.760
This method guarantees 100% success

652
00:27:05.760 --> 00:27:08.599
This approach will always create a masterpiece

653
00:27:08.599 --> 00:27:12.119
I believe it’s nearly impossible to say these

654
00:27:12.119 --> 00:27:14.619
Every researcher attempts to explain things

655
00:27:14.619 --> 00:27:16.359
in their way

656
00:27:16.359 --> 00:27:19.040
A character must align with the story

657
00:27:19.040 --> 00:27:22.947
While others suggest combining familiar elements

658
00:27:22.947 --> 00:27:25.000
from contemporary databases

659
00:27:25.000 --> 00:27:26.839
can lead to fresh, innovative characters

660
00:27:26.839 --> 00:27:30.560
These are all proposals born from extensive research

661
00:27:30.560 --> 00:27:35.040
You, too, need to find your own method

662
00:27:35.040 --> 00:27:37.140
If you’re currently pondering

663
00:27:37.140 --> 00:27:38.560
how to craft a character

664
00:27:38.560 --> 00:27:42.079
The best approach is to ask yourself

665
00:27:42.079 --> 00:27:45.520
Which perspective will help me most in my work?

666
00:27:45.520 --> 00:27:46.920
In truth, the ideal method is

667
00:27:46.920 --> 00:27:51.069
to understand both approaches and use them as references

668
00:27:51.069 --> 00:27:54.731
When creating a character, you can start by considering those

669
00:27:54.731 --> 00:27:57.520
Like the earlier example of a character

670
00:27:57.520 --> 00:27:59.760
with black hair, fair skin, and a tall figure

671
00:27:59.760 --> 00:28:03.119
When setting a character’s appearance and personality in this way

672
00:28:03.119 --> 00:28:05.839
You can consider using the attribute combination method

673
00:28:05.839 --> 00:28:08.920
It's beneficial to fully utilize the database

674
00:28:08.920 --> 00:28:11.000
you’ve accumulated throughout your life

675
00:28:11.000 --> 00:28:12.200
What I mean is

676
00:28:12.200 --> 00:28:15.719
people are deeply influenced by the comics they've read

677
00:28:15.719 --> 00:28:18.479
Some might feel embarrassed about that

678
00:28:18.479 --> 00:28:21.040
but it's a strength

679
00:28:21.040 --> 00:28:22.840
A writer's database's composition depends on

680
00:28:22.840 --> 00:28:25.000
the content types they've consumed

681
00:28:25.000 --> 00:28:28.861
over the years

682
00:28:28.861 --> 00:28:30.000
For instance

683
00:28:30.000 --> 00:28:34.560
let's say you're creating a cold and rebellious male high school student

684
00:28:34.560 --> 00:28:37.160
and setting their appearance and personality

685
00:28:37.160 --> 00:28:41.280
If the comics this writer has consumed

686
00:28:41.280 --> 00:28:45.040
are mostly from the 1980s and 1990s

687
00:28:45.040 --> 00:28:48.719
Chances are high they'll depict the character as follows

688
00:28:48.719 --> 00:28:51.160
He might have long hair

689
00:28:51.160 --> 00:28:53.839
He'd likely wear a Japanese-style school uniform

690
00:28:53.839 --> 00:28:55.560
with a short-sleeved T-shirt underneath

691
00:28:55.560 --> 00:28:56.959
probably red

692
00:28:56.959 --> 00:28:59.000
He might be wearing that

693
00:28:59.000 --> 00:29:00.280
And he'd walk through

694
00:29:00.280 --> 00:29:02.760
strong gusts of wind, exuding loneliness

695
00:29:02.760 --> 00:29:05.839
When someone talks to him, he'd probably respond with a punch

696
00:29:05.839 --> 00:29:07.739
His home life

697
00:29:07.739 --> 00:29:10.199
wouldn't be happy

698
00:29:10.199 --> 00:29:12.520
likely filled with poverty

699
00:29:12.520 --> 00:29:16.400
A rich student

700
00:29:16.400 --> 00:29:18.880
might pick a fight with him

701
00:29:18.880 --> 00:29:21.839
But he'd still train hard despite his hunger

702
00:29:21.839 --> 00:29:24.520
This aligns with the database of

703
00:29:24.520 --> 00:29:28.599
cold, rebellious male high school characters from comics of that era

704
00:29:28.599 --> 00:29:30.841
However, using this database

705
00:29:30.841 --> 00:29:34.599
to resonate with readers in the 2020s

706
00:29:34.599 --> 00:29:37.040
is almost impossible

707
00:29:37.040 --> 00:29:38.290
Modern comics

708
00:29:38.290 --> 00:29:41.000
have built an entirely different database

709
00:29:41.000 --> 00:29:43.959
for the same archetype

710
00:29:43.959 --> 00:29:45.560
In Japanese content

711
00:29:45.560 --> 00:29:47.860
a specific character trope

712
00:29:47.860 --> 00:29:50.520
gained immense popularity around 2010

713
00:29:50.520 --> 00:29:53.800
A small-framed female character

714
00:29:53.800 --> 00:29:55.920
with pink twin-tailed hair

715
00:29:55.920 --> 00:29:58.760
is always a softy

716
00:29:58.760 --> 00:30:01.520
I actually heard a related story firsthand while working in Japan

717
00:30:01.520 --> 00:30:04.119
A producer told me

718
00:30:04.119 --> 00:30:07.479
This character is softy, but why isn’t her hair pink?

719
00:30:07.479 --> 00:30:10.439
If you want to avoid alienating readers

720
00:30:10.439 --> 00:30:12.880
change it to pink

721
00:30:12.880 --> 00:30:14.079
It was shocking then

722
00:30:14.079 --> 00:30:17.029
But it stemmed from

723
00:30:17.029 --> 00:30:20.516
a database built within the industry

724
00:30:20.516 --> 00:30:24.049
Now I can see that

725
00:30:24.049 --> 00:30:26.040
While it was hard to accept then

726
00:30:26.040 --> 00:30:27.591
Creators, too, often thought

727
00:30:27.591 --> 00:30:30.880
they didn't need to break the rule

728
00:30:30.880 --> 00:30:35.160
However, as of 2020, such characters

729
00:30:35.160 --> 00:30:37.760
are much harder to find in Korean content

730
00:30:37.760 --> 00:30:41.119
Pink hair is no longer trending

731
00:30:41.119 --> 00:30:44.239
Twin tails aren’t as common

732
00:30:44.239 --> 00:30:46.359
Small-framed female characters

733
00:30:46.359 --> 00:30:48.400
don’t appear as frequently

734
00:30:48.400 --> 00:30:51.359
This shift isn’t about any commentary on small-framed women themselves

735
00:30:51.359 --> 00:30:55.000
It’s simply a change in the sculpting of characters as symbolic forms

736
00:30:55.000 --> 00:30:57.600
This means that characters can vary greatly

737
00:30:57.600 --> 00:31:00.040
depending on the era and context

738
00:31:00.040 --> 00:31:05.439
Once you’ve crafted the appearance and inner traits

739
00:31:05.439 --> 00:31:08.319
based on your database

740
00:31:08.319 --> 00:31:10.919
You can take it a step further by adding

741
00:31:10.919 --> 00:31:13.119
the character’s desires and fears

742
00:31:13.119 --> 00:31:15.680
These go beyond mere personality traits

743
00:31:15.680 --> 00:31:19.520
Let’s revisit the example of the character

744
00:31:19.520 --> 00:31:20.798
who aggressively pushes redevelopment

745
00:31:20.798 --> 00:31:22.959
but falls in love

746
00:31:22.959 --> 00:31:25.280
In the earlier version

747
00:31:25.280 --> 00:31:27.040
We mentioned his cold personality

748
00:31:27.040 --> 00:31:28.680
It differs from our discussion here

749
00:31:28.680 --> 00:31:32.280
At the start of the story, what does this character want?

750
00:31:32.280 --> 00:31:34.640
He wants to win the inheritance battle

751
00:31:34.640 --> 00:31:36.199
What is he afraid of?

752
00:31:36.199 --> 00:31:37.800
He fears losing

753
00:31:37.800 --> 00:31:40.640
But what is he truly afraid of?

754
00:31:40.640 --> 00:31:43.160
Deep down, he fears that losing will expose his weakness

755
00:31:43.160 --> 00:31:46.160
causing everyone around him to abandon him

756
00:31:46.160 --> 00:31:47.319
because he’ll no longer be useful to them

757
00:31:47.319 --> 00:31:51.280
In essence, his real fear is being alone

758
00:31:51.280 --> 00:31:53.490
Focusing on these two aspects

759
00:31:53.490 --> 00:31:55.588
It can help establish

760
00:31:55.588 --> 00:31:58.031
the story’s direction more clearly

761
00:31:58.031 --> 00:32:00.959
A character driven by such desires and fears

762
00:32:00.959 --> 00:32:02.522
As we discussed earlier

763
00:32:02.522 --> 00:32:05.280
This character fears being abandoned by those around him

764
00:32:05.280 --> 00:32:08.920
He longs to meet someone who will love him unconditionally

765
00:32:08.920 --> 00:32:11.680
regardless of his circumstances or flaws

766
00:32:11.680 --> 00:32:15.560
Someone who can make him feel he'll never be alone

767
00:32:15.560 --> 00:32:19.239
At the same time, he also harbors a strong desire

768
00:32:19.239 --> 00:32:21.439
to win the inheritance battle

769
00:32:21.439 --> 00:32:25.199
and prove his worth

770
00:32:25.199 --> 00:32:26.522
He'll likely experience

771
00:32:26.522 --> 00:32:29.900
moments of hesitation

772
00:32:29.900 --> 00:32:31.719
and make poor decisions

773
00:32:31.719 --> 00:32:33.180
For example

774
00:32:33.180 --> 00:32:36.697
He might think, 'I don't have time to indulge in these lukewarm emotions'

775
00:32:36.697 --> 00:32:40.719
In this scenario, he might end up

776
00:32:40.719 --> 00:32:42.520
demolishing her tea shop

777
00:32:42.520 --> 00:32:45.920
When confronted with the question, "How could you do this to me?"

778
00:32:45.920 --> 00:32:48.319
He might coldly respond, "Do you know me? I've never met anyone like you"

779
00:32:48.319 --> 00:32:49.680
and turn his back on her

780
00:32:49.680 --> 00:32:51.160
This would be a poor decision

781
00:32:51.160 --> 00:32:54.839
However, in the end, he might finally let go of everything

782
00:32:54.839 --> 00:32:57.040
His ambitions, and choose to embrace

783
00:32:57.040 --> 00:33:00.497
true peace and the one person

784
00:33:00.497 --> 00:33:03.599
who ensures he'll never be alone

785
00:33:03.599 --> 00:33:05.299
If I've successfully explained

786
00:33:05.299 --> 00:33:08.920
his desires and fears earlier in the story

787
00:33:08.920 --> 00:33:10.079
Readers

788
00:33:10.079 --> 00:33:12.640
won’t question his actions by saying

789
00:33:12.640 --> 00:33:13.920
I thought he wanted to win the inheritance battle; why is he acting like this?

790
00:33:13.920 --> 00:33:16.400
Instead, they'll understand

791
00:33:16.400 --> 00:33:19.742
that he truly longs for

792
00:33:19.742 --> 00:33:22.760
not to be left alone

793
00:33:22.760 --> 00:33:26.520
This understanding of the character’s deeper motivations is what we refer to as character plausibility

794
00:33:26.520 --> 00:33:27.760
Let's wrap things up

795
00:33:27.760 --> 00:33:29.000
As I mentioned earlier

796
00:33:29.000 --> 00:33:31.239
Creating a story is a process

797
00:33:31.239 --> 00:33:36.239
Both stories and characters are a process

798
00:33:36.239 --> 00:33:38.439
They don't appear fully formed

799
00:33:38.439 --> 00:33:42.400
just because you've taken a class

800
00:33:42.400 --> 00:33:44.850
However, some people don't fully realize this

801
00:33:44.850 --> 00:33:46.719
and often say

802
00:33:46.719 --> 00:33:49.000
I have so many favorite characters

803
00:33:49.000 --> 00:33:52.160
I have a lot of favorite characters from other stories

804
00:33:52.160 --> 00:33:54.810
But I just can't feel attached to my characters

805
00:33:54.810 --> 00:33:58.479
So I can't finish my work

806
00:33:58.479 --> 00:33:59.640
There are a lot who say like this

807
00:33:59.640 --> 00:34:02.071
This is a very common and natural thing

808
00:34:02.071 --> 00:34:03.719
Why?

809
00:34:03.719 --> 00:34:06.160
Many people assume

810
00:34:06.160 --> 00:34:07.920
Maybe my story isn't interesting enough

811
00:34:07.920 --> 00:34:09.879
So I can't connect with my characters

812
00:34:09.879 --> 00:34:12.507
Maybe I didn't design my characters well

813
00:34:12.507 --> 00:34:16.280
which is why I don't feel attached to them

814
00:34:16.280 --> 00:34:17.919
But that's not the case

815
00:34:17.919 --> 00:34:20.639
The characters they love from other stories

816
00:34:20.639 --> 00:34:22.600
exist within completed narratives

817
00:34:22.600 --> 00:34:24.959
Those characters are completed

818
00:34:24.959 --> 00:34:28.741
Or at least have been developed over a long serialization

819
00:34:28.741 --> 00:34:30.959
to the point of near completion

820
00:34:30.959 --> 00:34:32.959
Let’s put it more simply

821
00:34:32.959 --> 00:34:34.919
We love those characters

822
00:34:34.919 --> 00:34:36.951
Because we've spent a long time watching them

823
00:34:36.951 --> 00:34:38.959
They're like old friends

824
00:34:38.959 --> 00:34:41.120
But what about the character

825
00:34:41.120 --> 00:34:44.679
you're currently creating?

826
00:34:44.679 --> 00:34:46.600
How complete are they?

827
00:34:46.600 --> 00:34:48.439
Have you written much of their story yet?

828
00:34:48.439 --> 00:34:50.639
Has it progressed to, say, 20 chapters?

829
00:34:50.639 --> 00:34:53.159
Or is this character

830
00:34:53.159 --> 00:34:55.719
still just a design?

831
00:34:55.719 --> 00:34:57.879
Do you know exactly what role

832
00:34:57.879 --> 00:34:59.879
this character will play in the story?

833
00:34:59.879 --> 00:35:02.159
If someone asks what they want, what they fear

834
00:35:02.159 --> 00:35:04.800
Can you answer confidently?

835
00:35:04.800 --> 00:35:06.399
What mistakes do they make?

836
00:35:06.399 --> 00:35:09.560
What regrets do they have?

837
00:35:09.560 --> 00:35:12.520
And despite all of that, what drives them to stand back up?

838
00:35:12.520 --> 00:35:15.639
This is when we truly fall in love with characters

839
00:35:15.639 --> 00:35:17.120
When they fail

840
00:35:17.120 --> 00:35:19.320
and seem to never recover

841
00:35:19.320 --> 00:35:21.120
But

842
00:35:21.120 --> 00:35:23.040
I have to apologize

843
00:35:23.040 --> 00:35:25.120
I hurt that person

844
00:35:25.120 --> 00:35:27.521
Even if I'm not forgiven, it doesn't matter

845
00:35:27.521 --> 00:35:30.560
Then they go to the person they wronged, fall to their knees

846
00:35:30.560 --> 00:35:32.800
Moments like these pull us in and make us care deeply about them

847
00:35:32.800 --> 00:35:35.639
Has your character ever had such a moment?

848
00:35:35.639 --> 00:35:38.199
How well do you know your character?

849
00:35:38.199 --> 00:35:41.080
Can you love a character you don't fully understand?

850
00:35:41.080 --> 00:35:43.080
I don't think so

851
00:35:43.080 --> 00:35:45.520
The assumption that "It's my character, so I must know them best"

852
00:35:45.520 --> 00:35:47.600
is a huge misconception

853
00:35:47.600 --> 00:35:49.399
As I mentioned earlier, creating characters

854
00:35:49.399 --> 00:35:52.399
happens alongside building the story

855
00:35:52.399 --> 00:35:56.040
A character isn't complete until the story is complete

856
00:35:56.040 --> 00:35:58.600
It's perfectly normal not to have everything figured out right now

857
00:35:58.600 --> 00:36:00.520
You've created a character

858
00:36:00.520 --> 00:36:03.959
but are unsure of

859
00:36:03.959 --> 00:36:06.439
what they're thinking or want

860
00:36:06.439 --> 00:36:08.360
As you develop the story

861
00:36:08.360 --> 00:36:11.760
There will come a moment when you, as the writer, begin to understand your character better

862
00:36:11.760 --> 00:36:13.600
It's normal not to know what's what now

863
00:36:13.600 --> 00:36:15.199
It's natural

864
00:36:15.199 --> 00:36:16.919
What your character is thinking

865
00:36:16.919 --> 00:36:20.239
Why they act a certain way, or what will happen next

866
00:36:20.239 --> 00:36:22.719
In this ambiguous state

867
00:36:22.719 --> 00:36:25.080
You simply keep pushing the story forward

868
00:36:25.080 --> 00:36:27.120
Ask your character questions like

869
00:36:27.120 --> 00:36:29.560
What would you do in this situation?

870
00:36:29.560 --> 00:36:33.040
As you do so, you'll eventually hear answers from them

871
00:36:33.040 --> 00:36:35.399
And get to know the character better

872
00:36:35.399 --> 00:36:38.679
And, most likely, grow to love them

873
00:36:38.679 --> 00:36:41.560
Next time, we’ll finally dive into story creation

874
00:36:41.560 --> 00:36:43.280
from this perspective

875
00:36:43.280 --> 00:36:45.840
Specifically, we'll focus on the introduction

876
00:36:45.840 --> 00:36:49.120
Let’s explore this in detail in our next session

877
00:36:49.120 --> 00:36:50.038
Thank you

878
00:36:50.714 --> 00:36:51.836
Defining Characters Through Actions
Dictionary Definition of 'Character'
Standard Korean Dictionary: A person in a novel or play, or their personality and image within the work

879
00:36:51.836 --> 00:36:52.799
Korea University Korean Dictionary: A person in novels, plays, or comics, with unique traits based on appearance or personality

880
00:36:52.799 --> 00:36:53.742
A character must have distinctive traits that set them apart, encompassing appearance and personality

881
00:36:53.742 --> 00:36:54.668
Defining Characters Through Actions
Characters in a story must be closely tied to the story itself
Character profiles exist because they are necessary for the story

882
00:36:54.668 --> 00:36:55.704
The actions of major characters must always have plausibility
A story is not created sequentially but gradually built as a cohesive whole
A character is fully complete only when the story is complete

883
00:36:55.704 --> 00:36:56.954
Defining Characters Through Patterns
Patterns allow for combinations, but characters created this way may not feel original

884
00:36:56.954 --> 00:36:58.204
While creating characters through patterns may not seem like "creation," combining attributes can produce new characters
Comic symbols are conventionalized and serve as effective communication tools

885
00:36:58.204 --> 00:36:59.454
Character Plausibility
Story creation is a process
Those who struggle to connect with their characters should remember that beloved characters from other works exist within completed narratives

886
00:36:59.454 --> 00:37:00.661
Thinking you fully understand your character before they’re complete is a major misconception
As the story progresses, the writer understands and eventually loves the characters