an essay on character arcs

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this is slobber back with another blog. however, today’s blog will be a little different, and will be split into two parts. i’ll be discussing character arcs in asoiaf, and parallels they share with other forms of media. this will be a very long piece, and will serve as my entry for both #CCGrowth. the next part will serve as my entry for another challenge. let’s get on with it!

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what is a character arc and how are they used in asoiaf?

according to script reader pro, “a character arc is the transformation the protagonist undergoes during the movie. this is usually from a damaged, flawed individual, to a more rounded, wise person by the end, but can also go in the opposite direction.”

this is an interesting definition, and captures all the niches in a personal storyline. there is no one right way a character can go, and while they usually end with a form of redemption, they can also involve an inverted story, or perhaps involve stepping into the light and returning to the darkness. these variations may also stem from whether they take place with the protagonist, an anti hero, or an antagonist. the last type usually involves a character that either faces redemption in the end, or starts out as a minor or side character, not necessarily central to the plot.

the aforementioned website states that character arcs take place through a conscious or unconscious desire, an inner or outer goal, or a want or need. all of these factors are essential to pushing a comprehensive story along, and create a complex plot surrounded by one central goal. one of the beauties of george rr martin’s writing style is that he writes from different points of view, or a pov. this allows for dozens of three dimensional people like cersei lannister or theon greyjoy be painted through a protagonist’s light. all of these helps create goals for each character, ultimately leading towards one grand event.

another point script reader pro touches on is the everlasting hunt for “the answer.” for different characters in can meet different things. arya stark’s ultimate answer may be revenge, while her ‘half-brother’ jon’s may be acceptance. these are central to the narrative, and grrm’s subtle writing nods to finding these themes in various places all help the intricate tale he is telling. in the end, characters may find this answer, or perhaps find solace without the answer, and will have their arch wrapped up. these themes may even change as a story progresses, to a more physical accomplishment, or perhaps a twist on the original goal, like in the case of the complex jaime lannister.

in my opinion, one of the most impactful variations of the character arc is when the protagonist dies. when lord and lady stark are killed, this creates a shocking parallel to many stories where the main character(s) survives everything and everyone, and manages to eventually reach a conclusive ending. while a story without any of these is unfulfilling and leaves you wanting more in an unsavory taste, variety helps divulge from this trap, creating a more compelling story.

overall, while a character arc isn’t necessary for an interesting and enjoyable character, (see indiana jones or toph beifong) they are undoubtedly useful in making three dimensional stories.

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i hope everyone enjoyed this, and found something interesting in it. in the next part i will be discussing parallels between two fiery women, and their complex stories. stay safe everyone!