OBJECTIVES:

Every character must have a scene objective and a super-objective. A scene objective is what the character wants, well, in any given scene. It might be as simple as �I want to kill this superhero in front of me,� or as complex as �I want to impress my superiority upon my worthy opponent here so that he will consider mating with my daughter and ruling my evil empire in my stead when I am gone.� Your scene objective right now might be �I want to pick up some tips on how to become a comic book writer.�

Super-objectives, on the other hand, impose a degree of depth (or lack thereof) on the character.  They can be defined as a character�s overwhelming guiding wish (whether conscious or not) � what the character most wants, essentially, out of life. For your average villain, you could go with the Super-Objective being �I want to rule the world,� but that isn�t half as interesting as �I want to be so powerful that no one will ever threaten me nor make me feel vulnerable again.� Obviously, there�s backstory to that second objective. Using �ruling the wold� as an action on the  way to the Super-Objective (instead of an actual objective) opens up three-dimensional aspects of your character that can be used to engage readers and maybe even elicit sympathy for, or at least interest in, your antagonist.    
 

Your Super-Objective might be: �I want to be a famous comics writer so that my mom will stop making fun of my collection and finally recognize, love, and accept me as the unique super-genius I am.� 

If a writer is uncommitted and/or unclear about a character�s super-objective, the through line of action for that character � that is, literally, what the character does scene to scene � will read as unfocused and even �out of character.�    
 

Graphics from: Stanislavski, Constantin. An Actor Prepares. Theater Art Books: New York, 1948

From: Vogler, Christopher. The Writer�s Journey; Mythic Structure for Storytellers and Screenwriters.  Michael Wiese Productions: California, 1992

 
A character�s objective can change as he or she moves through a journey � in fact, most potent stories work towards a change in the protagonist. 

Your hero will undoubtedly encounter archetypes during his or her adventures (and indeed, some characters � like Batman, for example --  are very closely linked to archetypes themselves), but you can add layers of depth to a character by letting them integrate aspects of some of the more common archetypes into their own psyche. 

Additional Recommended Reading:

Eisner, Will. Comics & Sequential Art. Poorhouse Press: Florida, 1985.

McCloud, Scott. Understanding Comics; the Invisible Art. Kitchen Sink Press: Massachusetts, 1993.

Salisbury, Mark. Writers on Comics Scriptwriting. Titan Books: London, 1999

 
Back to top...