Category Archives: Obstacle Character

The Obstacle Character Domain

It is important to be clear about the difference between the Main Character and the Obstacle Character. The audience looks through the Main Character’s eyes, and through them looks at the Obstacle Character. Through the Main Character, we feel what it is like to be in a particular predicament. With the Obstacle Character we see an external view of what someone else looks like in the same predicament. Since we cannot really climb into and become this character, we can only judge him by how he affects the characters and events around him.

As an example, if a Main Character were physcially challenged, during the duration of the story the audience members would also feel physically challenged, suffering the problems this creates as if it were a problem in their own lives. If the Obstacle Character were physically challenged, the audience would examine the problem from the outside, learning more about the difficulties logistically, not experientially. The focus would be on how this physical challenge impacts others. “Impact” is the key word to keep in mind when examining the story’s problem in the Obstacle Character Domain.

From the Dramatica Theory Book

Main & Obstacle Characters: Change or Steadfast?

In completely empathizing with the Main Character of a story, we practically become this person. There are certain dynamics we expect to be able to determine about a Main Character as part of experiencing things from his point of view. One of these is called Main Character Resolve.

Main Character Resolve answers the question “Does the Main Character ultimately Change or Remain Steadfast?” At the beginning of the story the Main Character is driven by a particular motivation. When the story ends, he will either still be driven by the same motivation (Steadfast) or have a new motivation (Change).

Main Character Resolve really describes the relationship between the Main Character and the Obstacle Character. The impact of the Obstacle Character is what forces the Main Character to even consider changing. If the Main Character ultimately does change, it is the result of the Obstacle Character’s effect on the Main Character’s perspective. If, on the other hand, the Main Character remains steadfast, then his impact on the Obstacle Character will force the Obstacle Character to change.

Some Examples:
Star Wars: Main Character: Luke Skywalker (Change)
Obstacle Character: Obi Wan Kenobi (Steadfast)

The Story of Job: Main Character: Job (Steadfast)
Obstacle Character: The Devil (Change)

To Kill A Mockingbird: Main Character: Scout (Change)
Obstacle Character: Boo Radley (Steadfast)

The Fugitive: Main Character: Dr. Richard Kimble (Steadfast)
Obstacle Character: Agent Sam Gerard (Change)

It should be noted that the Obstacle Character need not even know he is having that kind of effect on the Main Character. He may know, but he may easily not even be aware. Main Characters are defined by the point of view, Obstacle Characters by the impact on that point of view.

From the Dramatica Theory Book

Relationship Between Main & Obstacle Characters

The Main Character comes into a story with a tried and true method for dealing with the kind of problem featured in the story. That method has always worked for the Main Character before: it has a long history. Suddenly, a situation arises where that standard approach doesn’t work, perhaps for the first time ever. This marks the beginning of the story’s argument. As the story develops, the Main Character tries everything to find a way to make it work anyway, holding out in the hope that the problem will eventually go away, or work itself out, or be resolved by the tried and true method.

Along the way, the Obstacle Character comes into the picture. He tells the Main Character there is a better way, a more effective approach that not only solves the same problems the Main Character’s tried and true method did, but solves this new one as well. It sounds a lot like pie in the sky, and the Main Character sees it that way. Why give up the old standby just because of a little flak?

As the story develops, the Obstacle Character makes his case. Slowly, an alternative paradigm is built up that becomes rather convincing. By the moment of truth, the long-term success of the old view is perfectly balanced by the larger, but as of yet untried, new view. There is no clear winner, and that is why it is a leap of faith for the Main Character to choose one over the other.

From the Dramatica Theory Book

The Influence Character

There is one special character who represents the argument for an alternative point of view to that of the Main Character. This character, who spends the entire story making the case for change, is called the Influence Character for he acts as an influence to change the direction the Main Character would go if left to his own devices.

As with each of us, the last thing we tend to question when examining a problem is ourselves. We look for all kinds of solutions both external and internal before we finally (if ever) get around to wondering if maybe we have to change the very nature of who we are and learn to see things differently. We can learn to like what we currently hate, but it takes a lot of convincing for us to make that leap.

When a Main Character makes the traditional leap of faith just before the climax, he has explored all possible means of resolving a problem short of changing who he is. The Influence Character has spent the entire story trying to sell the Main Character on the idea that change is good, and in fact, pointing out exactly how the Main Character ought to change. The clock is ticking, options are running out. If the Main Character doesn’t choose on way or the other, then failure is certain. But which way to go? There’s no clear cut answer from the Main Character’s perspective.

From the Dramatica Theory Book