#comic relief characters

[ikatakoirl]

How To Write A Comic Relief Character That Doesn’t Suck

So. We all know the comic-relief character trope. The one who doesn’t do much but tags along because of their “loyalty” and falls on their face every now and then for us to laugh at whenever the tension gets too high. But then at the end they have their heroic moment and prove wrong everyone who ever doubted them! Only for them to go back to exactly how they were before in the resolution. Right?

NO! WRONG! THROW IT IN THE GARBAGE! In this post I’m going to give some ideas of how to add comic relief elements to a story without devaluing any of the characters! First of all, let’s start with some examples! I'll explain most of my choices throughout the post. I'm hoping I provided enough examples that everyone can recognize at least one in each category! I’ve also done my best to make direct comparisons.

Comic Relief Characters Done Poorly

Ronald Weasley (Harry Potter)

Neville Longbottom (Harry Potter)

Haymitch Abernathy (The Hunger Games)

Lance McClain (Voltron: Legendary Defender)

Loki (MCU, before the Disney+ series)

Marinette Dupain-Cheng (Miraculous Ladybug)

Luigi (Super Mario)

Goggles (Coroika)

Comic Relief Characters Done Well

Fred and George Weasley (Harry Potter)

Percy Jackson (Percy Jackson and the Olympians)

Peeta Mellark (The Hunger Games)

Sokka (Avatar: the Last Airbender)

Peter Parker/Spider-Man (MCU)

Chat Noir (Miraculous Ladybug)

Sonic the Hedgehog [depends on which show/game ofc]

Skull (Coroika)

Reki Kyan (Sk8 the Infinity)

Kai (The Hollow)

No Laughing Matter

It’s great to have a character who struggles with clumsiness or feeling incompetent! But what if you tried actually taking those concerns seriously? Instead of the divert-with-comedy-and-never-readdress approach, make your character turn angry or sensitive. (Or the best of both worlds, tsundere!) Really get into their head and explore how that incompetence is affecting them. Bonus points if they actually fail something of consequence! How do they react to this failure? Do they have people supporting them, and if so, how? And if instead the character is on the outs and constantly the butt of jokes, how does that affect their psyche? Maybe they’ll throw themselves into training or practicing to become better, but maybe all they need is a reminder of where their strengths do lie so that they can use them better to their advantage next time! I actually challange you to separate the klutz character from the comic relief character! It may be funny to watch people falling down on Reddit, but it doesn’t make for a compelling character that people will remember! I love Marinette, I really do, but I have to admit that she could be written better because she falls right into this sort of trap.

Himbos Are People, Too

Okay, okay. I know we all need to have our himbos sometimes. And that’s great! A character who’s a bit out of their element can be endearing for a lot of readers! But in order to get there, the character needs other personality traits, too! Comic relief is not a personality. It’s something you can stack onto a personality, but you need to create a whole character first, complete with hobbies and interests! Which means that, yes, you have to let your character be good at something. It doesn’t have to be the same as their interests, though! This is a great opportunity for a reminder that you can still find joy in something even if you’re not very good at it, and just because you're good at something doesn't mean it makes you happy.

And it should really be more than one thing they’re good at! Don’t write the Ron who’s only good at chess or the Lance who’s only (somewhat) good at flirting!

Tell Me What You Want

This also goes for character motivations! Each character needs to have either a clear motive or a clear lack of motive! Bonus points if it’s multiple complex but identifiable motives! Sokka is a perfect example of this! He wants to live up to the legacy of his father, find his place in the Gaang, and maybe pick up a girl (or a guy) along the way. And most importantly, he uses his humor not as a selfish way to avoid his feelings or for plot convenience but rather to lighten the mood as part of the duty he feels to keeping his sister safe and happy! His Voltron doppelgänger, Lance, has no clear motivation… ever, pretty much. He's implied to like Allura, but it's treated as more of a joke. Same with Ron, or Neville, or Luigi, or even Loki. What do they even want? You could say that Ron saw his greatest desire in the Mirror of Erised (to be recognized and respected), but does he ever take steps toward this? Does it ever even get brought up again? Or was it just meant to contrast with Harry’s greatest desire? After all, Ron ends up as some Auror as an adult but doesn’t show any regret or longing for a higher status.

(Another hint: Not dying is not a character motivation!)

However, I did give another option, which was a clear lack of motivation. We see this in Percy, Reki, and Kai at certain points, and they all express that they don’t understand exactly what they want. And that’s perfectly okay, too! I actually really love writing characters like this! That being said, this is typically a temporary thing, and you should have something in mind for the character’s endgame. I want to stress that this is actually the harder one to pull off correctly, so you can’t just use it as a cop-out.

So yeah, there’s your crash course in character creation and development! Maybe I’ll do a separate post for that in more detail!

According to my Calculations…

Yes, I know that can all feel like a lot. But it's no excuse to fall into stereotypes. Especially this one, which is often done as an Asian-American caricature. Going the other route with a conventionally unattractive, glasses-wearing, acne-having white kid is bad, too. It's cringe. It's harmful. Don't do it.

And this goes not just for the stupid-nerd caricature, but also for any other stereotype out there. This one is just the most annoying one I can think of.

The Loyal Lapdog

Another sort of random trope is justifying a bland character by claiming that their virtue is their "loyalty." If you're going to use loyalty as a personality trait, be very careful about it. You have to be committed to upholding that personality trait even if it messes with your plot. You don't want to end up like Ron, who is actually arguably one of the least loyal characters in the series, abandoning his best friends in an apocalyptic situation just because he was jealous and constantly getting in fights with Harry over things out of his control. It is good to test and even break the limits of your character’s loyalty, but if they give up at the slightest inconvenience they’re clearly not actually loyal at all. (I’m sorry I bash Ron so much. It’s not what it sounds like, I actually hate him much more than I’m letting on.)

Comedy Communism

Guess what? You can have more than one character be funny! In fact, why not make all of them funny? Even your dark, serious character can be accidentally hilarious, and Skull is a pristine example of this. And giving a brooding loner character a surprise one-liner can be a great way to mark character development as they become more comfortable in their environment.

Overall, spreading out the role of comic relief across multiple characters is just a plain good idea because it forces you to fully develop each character and makes your comedy less predictable.

Or here’s another idea: make the comic relief character the protagonist! It’s an unexpected move that Percy Jackson pulls off immaculately! It’s also another strategy to help you avoid writing flat comedic relief characters because your protagonist should be the easiest character to fully flesh out.

Don’t Ruin the Moment

Using comedy to lighten the mood can be a good thing, but it has a time and a place. I've seen so many truly moving, deeply emotional moments completely gutted by a stupid joke. It's so devastating to see a writer put in all this effort to build up to a big moment, only to ruin it. It’s up to you to decide what counts as a “big moment,” but once you decide, fully commit to it. If you really feel like it’s too much for the reader, you can use a scene break, which will provide relief to the readers with less bleeding over of the lighthearted mood into the serious part.

But it can also be hard to maintain that tension, especially if a comic relief character is involved. Having them tell a joke that falls flat can actually be a great way to further increase the tension while staying in character!

~

With that, thank you for reading! Go forth my friends and make people laugh with complex and memorable characters! And look out for my next post about How to Write a Truly Bone-Chilling Villain!

[redinthesea]

Stop putting him through situations!!!!!!! Think of his blood pressure!!! Everyone stop being mean to him real quick and start clapping or I'll blow this whole building up.

[imsosocold]

I love you background characters I love you comic relief characters I love you civilians  I love you unnamed victims and villains I love you characters with wasted potential.   

[sixoclocker]

the nuances of being alive when you aren’t meant to be

[banditomojado]

Them: So you're telling me that this thing, this Weasel, a joke side character from the suicide squad movie, made your heart melt and cry real tears of pain?

Me: *battling tears* YES AND NO I'M NOT FUCKING EXAGGERATING AND NO I'M WILL NEVER RECOVER

Them: But it's so ugl...

Me: HE'S PRECIOUS AND HASN'T DONE ANYTHING WRONG GOD DAMN YOU

[llamahearted]

they were playing & milly had been planning to lean in and catch her priest man off guard with some joke, but. well. now she's forgotten whatever-it-was she was gonna say

[exeunt-pursued-by-a-bear]

"balaga" is such a funny song. here comes a character we've never heard of before. there's an entire song about how cool he is, and it kicks ass. then he's never mentioned again.

[secriden]

So I made a post theorising about Style before episode 1 dropped and I'm both pleased by how much I got right and enamoured by all the extra details we have about Style in this episode.

Style is so obnoxiously overconfident and full of undeserved swagger that it somehow flips around to being winsome. He's the very definition of "empty-headed" but in a way that makes him innocent and guileless.

Narratively he functions as a bit of a foil to Bison because they are both impulsive and naive and blunt, but where Bison's past is steeped in blood and deception and it feels like he's got tricks up his sleeve, Style is an almost painfully open book. This also stands in contrast to Kant who seems very capable of manipulation.

And while he's nearly annoyingly self-assured, who can blame him; I mean look at him. Pretty boy is so fucking pretty. I bet he rocks up to the club, leans with his back against the bar so his shirt rides up, and immediately has 3 drinks being offered to him.

I'm so glad the show makes it clear that Style was flirting with Fadel well before the deal with Kant. It both establishes how genuine his interest in Fadel is, whilst also telling us that the unhinged behaviour was all Style - he didn't need any incentive to pull the "my nipples are sensitive" line.

I also love how he's demonstratively SO BAD at flirting! At the diner, its clear he's just trying things out to see if anything will stick. He's dressed to make himself alluring: arms and side bared in that loose tank top, and he keeps making these big gestures that show his arms off. (I wonder if he drinks as much as he does partly because he starts to get nervous when nothing seems to be working. xD)

All this is good, though, specifically because Fadel would probably see more sophisticated moves as deception. Instead, I think Style's unpolished and unpredictable flirting winds up being accidentally effective because it leaves Fadel feeling unmoored.

Fadel, who is so in control of his life; who (thinks he) knows exactly what he wants and how to get it. Style makes him feel things he probably hasn't in a while. Attraction, embarrassment; but also, anger and violence. His little dramatic knife-clench moment is such a contrast to the calm, clinical way he assassinates the mob boss and I think it shows that Fadel feels his lack of control around Style - and that frightens him a little.

I like how the show signposts the ways both characters are going to have to grow as people for them to be in a relationship: Style needs to learn how to take things more seriously, to mature and temper that arrogance, and slow down and read the room/people better; Fadel needs to allow himself to let go sometimes, to have some fun for once, to face and accept the reality of his own emotions.

They both have to learn how to love and be loved, and its fascinating how ideally suited they are to teach each other these things.

And in the mean time, well, the chemistry is undeniably electric.

[cablepowerhouse]

It’s so odd how a single ninja can completely change the vibe of this poster

It feels so, empty, like I feel like there’s so many characters missing when it’s only Jay that’s absent

Also it just occurred to me that this is an inversion of seasons 6 and 12. All the other ninja are here, but Jay is the one missing

[rookflower]

Opposite of canon nightheart would be silly

[poorly-drawn-mdzs]

Why would you—That's not—I just wanted to ask for help, why did you have to go and make it awkward???

[First] Prev <–-> Next

[imagine-darksiders]

I love you ‘ugly’ ships that aren’t played for a joke. I love you characters who aren’t conventionally attractive getting together and it isn’t rushed for the bit. I love you old people having crushes on each other. I love you silly side ships that are still taken seriously by the narrative and are shown the same dedication as the main ship. I love when an ‘ugly’ character falls in love and nobody makes fun of them for it.

[cloudysarts]

jonas venture's most famous inventions comfort each other after his death. <3

putting this under a read more bc i know im gonna get rambly BUT: the main idea behind this comic was that i got the mental image of helper being the first person to greet rusty in the (now) empty venture compound after jonas dies and rusty drops out. after a rewatch of the series i noticed that TECHNICALLY he wouldve seen helper again before this bc we see him in a flashback opening the car door for him as he leaves college so this comic TECHNICALLY doesnt make sense but im pretending that didnt happen. ANYWAY theres just smth so depressing to me about these two.......the fact that helper is the only one whos ALWAYS with him when we see a flashback to younger rusty. this robot loves him more than his actual father and it makes me deeply upset.

[razberrypuck]

ik I've joked about it before but I really do love how the slimecicle character formula is just like. make a silly goofy wet guy. give him unimaginable amounts of childhood trauma and bad coping mechanisms. make his life just a little bit better and then tear it away from him. gay rp to ease the pain. and you know what? I eat that shit up every time we love charlie slimecicle in this household

[timotheecontent]

DUNE: PART 2 (2024) dir. Denis Villeneuve

[invinciblerodent]

These days I kind of can't stop thinking about how much I enjoyed the possibility of being from Orzammar in Origins, specifically because just being who you are put so much of the early game in a wholly different context.

Like, a dwarf from Orzammar has, by definition, lived literally under a rock their whole lives!! They've never left the underground, and yes, while that also makes their ignorance of surface squabbles (the mage issue, the Ferelden/Orlais conflict, everything with the city elves and the Dalish, etc.) make a lot of sense, it also comes with so many interesting new angles that I'm honestly so surprised still that I've never really seen it mentioned very often, if at all. (Even though we even get an explicit moment to reflect on it, when leaving with Oghren.)

In Origins, the moment a dwarf first steps out through the gates of Orzammar and begins the game, is a profoundly life-altering experience. Dare I say, even more so than it is for an elf or a human. Because stepping out, for the first time, they are entering an entirely new world, and for the first time, in front of them is a vast expanse of nothing but air.

The end of the prologue, it's not just a fundamental personal change that awaits you, it's also a displacement so complete, that it's absolutely dizzying to even think about.

That first time a dwarf feels the sun on their skin, they are made sun-touched, a surfacer: stripped not only from caste and kin, of identity, but also faith and memory, any favor their ancestors may have still held for them, and any possibility of ever returning, as far as they know. (Aeducan may even have a bitter little chuckle over the irony of how they could very well have just one day before shrugged off the concerns of their surface brethren completely, only to be made one of them now.)

Their whole lives, they had always been able to see the opposite wall of the cave, or at least to know for sure that it's there, along with the miles and miles of unchanging, crystal-littered rock stretching protectively over their heads-- now all of that is gone. There's nothing between them, and the infinite and ever-changing blue, grey, orange, black of the open sky they've never seen, and in the distance, there's no wall-- just glorious, humongous mounds and spires of rock jutting up into the belly of the sky, the likes of which they've only ever seen from the inside.

Orzammar, despite no sunlight ever penetrating that far, is always lit bright, and it's heated by the lava streams and pools below. A dwarf has never known anything colder or warmer, brighter or darker, never seen seasons change... the biting winds and the frequent rains in Ferelden are completely new to them, not to mention the terrifying cracks of thunder that sound like the very Stone over them cracking in two, the bright flashes of lightning illuminating the night for but a moment, or waking in the middle of the night to what sounds like countless fingers pat-pat-patting the tarp of their tent, or the fact that animals -which are varied and plentiful and wholly alien- sometimes just randomly fall into the sky, like the rumors say! They might know academically that with birds, that just sort of tends to happen, but they've never seen one take off!!

Hell, all of surface flora and fauna are completely new to them-- it's likely they've only ever seen a tree or a dog in a picture book. Flowers, they've likely only ever seen as an expensive and frivolous luxury few can afford to have for a while, and even then, they are by necessity brought in removed from their roots, dead, wilting, taken from their natural place... while here, blooms just spring up underfoot willy-nilly, not entirely unlike mushrooms at the home which is not theirs anymore.

And... there must be something organic, something comfortingly animal to the scent of hundreds of warm bodies crammed into a sealed hole in the ground-- which is just gone now. The air is fresh, clean... empty, cold, lonely. No smell of spilled ale, piss, and vomit, no thick scent of the combined breaths and bodies of all their people... no scent of belonging, the air that moves their lungs now is no longer that which has moved those of all they've ever known, and every breath washes more, and more, and more of who they once were from inside their very body.

Being on the surface, it's like being thrust into an alien world, with which all just expects you to be intimately familiar. What do you mean the grass, the bugs, the birds, the leaves are strange? What do you mean you've never eaten leaves from this plant, fruit from this tree, the flesh of this creature you've only ever heard about? They laugh when you avert your eyes from the sky and try not to think about falling into it, or when you startle at the feeling of falling water suddenly hitting your skin, as if that was somehow funny, charming.

The night, which you've never before seen fall, is a comfort from all that endless, boundless seeing- but after the Joining, not even that is a relief.

Because if you're a dwarven Warden, all the dreams you've had in your life have been nightmares.

So you cope. You learn, and adapt, and endure.

Strong and immutable, like the Stone from which you were rent.