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Depending on the Writer
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In some stories, a character is very different every time they appear—so different that it's almost a different character with the same name. This is particularly common with long-running shows and comic books and even This Very Wiki, due to the large number of writers on staff. But there are some characters where even the same writer makes them different every time, deciding to tweak their personalities as the plot demands or for Rule of Funny. This is not the same as Character Development—nothing happens in the story to justify the personality change. Writer on Board or Creator Breakdown might, though. This trope is particularly common (almost Enforced) in Live-Theatre performances, as the way the characters are presented will be different depending on the actor and director. Don't get this confused with character depth. Also, just because you can't predict a character's moves 100% of the time doesn't mean they're inconsistent. Now, if you can predict a character's moves 100% of the time only when you know who's writing, then they're definitely inconsistent. Different writers with different ideas and understandings of the work are also the usual culprit of Continuity Drift. If the writers themselves begin to notice this, they might attempt an Author's Saving Throw. This can be in the form of trying to plausibly reconcile the differing depictions, leading to genuine Character Development (such as revealing [X] to be the reason why this character occasionally acts like [Y]), or agreeing to stick to the most popular persona (writers A, B, and C write this character differently, but audiences love C's take the most, so A and B eventually follow suit). See also Ping Pong Naïveté. Compare Alternative Character Interpretation, Depending on the Artist, Era-Specific Personality, Same Character, But Different, Interpretative Character, Armed with Canon, Running the Asylum, Character Derailment. |
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In theatrical performances of Nibelungenlied, Brunhilde normally has a fat or extremely masculine looking women play her, but with a choice of actress, she becomes more attractive. | |
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Who killed King Agamemnon and why? According to Homer, it was his cousin Aegisthus, as an extension of the Cycle of Revenge that defined the House of Atreus. Homer also holds Aegisthus wholly responsible for Agamemnon's wife Clytemnestra turning against the king. A later and more popular version, told by Aeschylus in The Oresteia, says that Agamemnon was forced to sacrifice his and Clytemnestra's daughter Iphigenia to Artemis in penance for a Blasphemous Boast and Clytemnestra murdered him herself in revenge. | |
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In Lamput, the living situations of the Docs varies per episode, depending on what works for the episode proper. Some episodes have them living in separate houses, which also becomes inconsistent if the two of them are neighbors or not. Other times they're roommates living in the same house, which then becomes inconsistent if they have their own rooms or share one. | |
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The Nuzlocke Comics involve turning a playthrough of one of the ''Franchise/{{Pokemon}}'' games into a comic strip or written story, and there are a lot of variations on the rules of the challenge itself, as well as the setting and the characters involved. Does the term "Nuzlocke" have any meaning within the world itself? Is it a Self-Imposed Challenge, a curse, or simply an unnamed rule of the world? Can trainers understand what their Pokémon are saying? If so, how? Can only some of their Pokémon communicate with them, via human speech or telepathy, or can all of them speak freely? | |
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In Bare: A Pop Opera, Nadia's Establishing Character Moment is a song about how she's fat and hates the way people treat her for it, however in some productions she's only Hollywood Pudgy, and her problem is how she sees herself. | |
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Gustav of Gustavus played loads of different roles across the 120 shorts, but stories written and/or directed by co-creator József Nepp (whose solo short film Passion inspired the series in the first place) liked to focus more on Dark Comedy and the negative side of humanity. He made Gustav into a horrible Jerkass corrupted by and taking advantage of society, whereas in other episodes he was more redeemable or fully innocent. | |
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The Total Drama fandom does this with select characters, where different authors might have drastically different characterizations for the same people. While almost everyone gets hit with this to an extent, these are some of the most notable examples: In general: Should the biographies on the campers written back in season one be followed to the letter, or ignored much like what canon does? Ezekiel: Shallow Jerkass or good-at-heart borderline Moe? Courtney: Reasonable if a little uptight person or capslocking, sue-crazy sociopath? This would be a case of Ron the Death Eater, except depictions of her in the series following the first season does lean over to the latter, particularly in season two. Owen — not so much the guy himself, but what people think of him. Is he still one of the most popular characters in-universe or does everyone feel sympathetic, yet sick of him at the same time? Izzy: Truly deranged nutcase or just an energetic Shameless Fanservice Girl who happens to like telling tall tales? Gwen: Thanks to the Duncan-kiss incident, she can either be a hero in the right or a devious antagonist depending on the author's character and/or shipping preference. Mostly shipping preference. Alejandro: The season's sadistic Big Bad or misunderstood guy who just wants Heather to love him? |
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Harry Potter: Screenwriter Steve Kloves has often been derisively called a Harmonian, for the emphasis his films put on Harry and Hermione's relationship, including a slow dance after Ron abandoned them in the forest in the Deathly Hallows movie (though the end stuck with the book's Hermione/Ron marriage). | |
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Marvel Cinematic Universe: Loki's characterization: in Thor, he's characterized as an Affably Evil Anti-Villain and tragic figure. In The Avengers, Joss Whedon characterizes him as Faux Affably Evil and almost entirely without redeeming features. Whedon even states on the DVD Commentary that he set out to make Loki less sympathetic. The writers of Thor: The Dark World and Thor: Ragnarok had to merge the two characterizations, while Loki centered its character development on his inconsistent personality and finding who the "real" Loki is (Loki himself feels troubled watching his gleeful sadism from The Avengers). A smaller version occurred with Tony Stark in the first The Avengers movie. Tony was always snarky, but now being written by Whedon, Author Appeal shines through as his snarks include many movie references. In the Avengers films written and directed by Joss Whedon, Natasha's main connection to the team are Bruce Banner (as a feared Terror Hero to her in the first and Promoted to Love Interest in Age of Ultron) and old friend Hawkeye. In the Captain America sequels, Avengers: Infinity War, and Avengers: Endgame, written by Stephen McFeeley and Christopher Markus and directed by the Russos, her Avengers orbit goes through Steve Rogers, elevating the pair into eventual Platonic Life-Partners. Similarly, she's more emotionally open to her teammates (especially Steve) in the latter films while more of a dryly detached teammate in Whedon's films. Bruce Banner during his first few films was portrayed as struggling to come to grips with his alter ego. In Thor: Ragnarok, he's written as a more nebbish Comedic Hero, although waking up from a two-year Hulk coma on an alien planet can partly explain it. Steve Rogers: Although the question of whether To Be Lawful or Good has remained consistent throughout his appearances, Steve Rogers has had different sides of his personality emphasized depending on whether Joe Johnston or the Russo Brothers or Joss Whedon are helming the movie. In the Johnston/Russos' movies (written by Christopher Markus and Stephen McFeely), their take on Cap emphasizes the grimmer, human side of Steve, forcing him to reflect upon all that he's lost, his place in the world and whether he should be Captain America or Steve Rogers, with him always picking the latter, lawfulness be damned. Conversely, Whedon's take on the character tends to have him focusing on the threat at hand while downplaying his "Man Out Of Time" habits, emphasizing his Captain America persona and having him be a more self-assured figure who takes pride in the lawful Good Old Ways and is critical of rulebreakers. Steve's Love Interest - be it hinted or stated - varies depending on the movie. The First Avenger and Age of Ultron showcases Peggy as his one true love, only for The Winter Soldier and Civil War to bounce him between a Ship Tease with Natasha Romanoff and Sharon Carter, respectively. Endgame puts the debate to rest by solidifying Peggy as his heart's desire, but it's pretty clear that his romance subplot went through more twists and turns than was strictly necessary due to Writing by the Seat of Your Pants (Sharon was planned to be Steve's primary love interest as in the comics, but a combination of Peggy becoming a Smurfette Breakout, Natasha's expanded role in The Winter Soldier absorbing scenes originally meant for Sharon, and the delayed Steve/Sharon romance in Civil War going over like a lead balloon, made the decision to return to Peggy a case of last-minute course correction). |
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Under the ironic pen of Paul Magrs in the Big Finish Doctor Who audio Excelis Dawns, Lord Grayvorn is something of an Ineffectual Sympathetic Villain, with strong hints that his unseen army is a lot less impressive than he suggests. In the subsequent audios in the Excelis Trilogy, he's a much more serious threat. It could be that he's Taken A Level In Badass, but even the Doctor doesn't argue much with the idea that he was the planet's most powerful warlord back in the day. | |
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In Oklahoma!, Jud Fry can be played as a buffoon lacking intelligence, a possessive and evil man, a slightly insane man or a sympathetic and misunderstood man who struggles with depression. Curly could also be played as an overconfident and cocky braggart who is slightly cowardly or a person who is confident and charming. This mostly depends on the depth of the director. | |
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Loki's characterization: in Thor, he's characterized as an Affably Evil Anti-Villain and tragic figure. In The Avengers, Joss Whedon characterizes him as Faux Affably Evil and almost entirely without redeeming features. Whedon even states on the DVD Commentary that he set out to make Loki less sympathetic. The writers of Thor: The Dark World and Thor: Ragnarok had to merge the two characterizations, while Loki centered its character development on his inconsistent personality and finding who the "real" Loki is (Loki himself feels troubled watching his gleeful sadism from The Avengers). | |
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This is just as pronounced, if not more so, in the My Little Pony: Friendship Is Magic fandom; different authors will very often have different interpretations of the characters and setting, as expected of fanfic. But it gets really extreme when it comes to works about the many background characters whose personalities are based primarily in fanon rather than canon. While there is some basic fanon you can expect to be adhered to for each character (much of which became Ascended Fanon over the show's run), there is still more than enough room for stories by different authors to treat characters like Derpy Hooves very differently from each other. | |
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A smaller version occurred with Tony Stark in the first The Avengers movie. Tony was always snarky, but now being written by Whedon, Author Appeal shines through as his snarks include many movie references. | |
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In Jasper in Deadland, the script has Mr Lethe describe to Ms Hathaway what their lives will be like when he is in charge, to which she responds "My heart beats with anticipation...". Depending on the production, Hathaway is either speaking genuinely as there is some kind of relationship between them, sarcastically because he's describing her still doing menial labor like getting him drinks and sunscreen, or genuinely because she's in love with him despite the fact that he sees her as just an employee. | |
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Touhou fanworks. It's extremely common to see takes on characters that either hew close to the official details, exaggerate them for parody or drama, or blatantly ignore them. Complicated with endless arguments about what is canon and fanon. One doujin can make one character extremely nice, another a complete jerkass, another an Axe-Crazy mass murderer. | |
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A key plot point in Redaction of the Golden Witch is the existence of "Forgeries", In-Universe fanworks that off their own interpretations of what happened on Rokkenjima island during the events of Umineko: When They Cry. Redaction itself is partially one such forgery, and one of the Driving Questions of the work is who wrote it and why. This is further Played With through the character of Andromalius, who was originally created by the In-Universe author as a way of representing their guilt, self-loathing, and grief. However, another character who reads their work adopts Andromalius as their Author Avatar, infusing him with his persecutory, Never My Fault attitude and effectively transforming him into a completely different character. |
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Gravity Falls fanfiction has a few prominent "fan-verses", but the one with most variants is the Reverse Falls AU, where Gideon Gleeful and Pacifica Northwest switch places with Dipper and Mabel. Outside the basic foundations of it being a Mirror Universe, many of the surrounding details change a lot depending on the author's headcanons. Sometimes Pacifica will have a personality similar to canon Mabel's, and sometimes she's a Granola Girl. The twins' villainous nature varies wildly, going from redeemable antagonists to irredeemable monsters. Sometimes Stan and Ford are pawns of the twins ala Bud Gleeful, and sometimes they’re subtle manipulators. Sometimes Will truly is a wimpy version of Bill being victimized, and sometimes he's the true Big Bad playing the long time. Sometimes the story will be tonally in line with the show; other times it will be Darker and Edgier or even Bloodier and Gorier. Outside that basic morally alignment switch regarding the four kids (and the resulting costume changes), everything else is pretty fair game. | |
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