I have been thinking about how you can tell who is the hero, or at least the main character, in British girls comics. I’m sure that as readers most of us can tell who’s the hero most of the time, but there are always some odd cases that test the boundaries. Perhaps we will learn something about some underlying rules of British comics storytelling if we have a deeper look?
Below I suggest five key tests to check who is the main character in a story. These tests aren’t anything to do with how nice or kind the person is – they would apply to an anti-hero as much as to the most perfect hero. Rather, they should tell us whether or not the story is about that person.
Reference in title
You would think the title of the story would be a dead giveaway as to who the story is about – but it’s not always as simple as that, of course. The main villain might be the one featured in the title (“Angela Angel-Face“, “Wanda Whiter Than White“) or, particularly in the case of Jinty, the title may be fairly allusive (“The Valley of Shining Mist“, “Waves of Fear” and many others).
For most stories, though, it’s true – the title does give away who the main character is. Often her name is right up front as the first element of the title along with the key struggle of the story: “Gwen’s Stolen Glory“, “Stefa’s Heart of Stone“, “Glenda’s Glossy Pages“, “Cora Can’t Lose“. But is Amanda Blay the main character in “Amanda Must Not Be Expelled“? And in “The Slave of Form 3B“, is the main character weak-willed Tania or the villainous (and rather more interesting) Stacey?
Hearing their words
A more important test than the title of the story seems to me to be whether we know what the character thinks and says. Do we see the character’s words (spoken or thoughts) directly on the page or not?
- The sample episode of “Amanda Must Not Be Expelled” has Amanda’s words showing (in speech or word balloons) in only 10 out of 28 panels in the episode. Her antagonists, Jane and Marty, have their words or speech reported in 22 of the 28 panels (including ones where Amanda also speaks).
- The sample episode of “The Slave of Form 3B” does not include any words or thoughts of Tania’s, but only those of Stacey (in the 26 panels shown, we hear Stacey’s thoughts or words in all bar 5).
Seeing their face
Similarly to the test above of whether we hear their words directly, do we follow them on the page and see what they do, in each panel or the majority of the page?
- You might think that it comes to a fairly similar outcome if you check how many panels the person appears in; I would expect the main character in a British girls comic to be in most of the panels (and that, by some way). However, in the same episode of “Amanda Must Not Be Expelled”, Jane and Marty are visible in 23 of the 28 panels while Amanda is in 18 of the 28 panels. Amanda is visible in quite a lot more panels (18 panels) than just the ones where she says or thinks something (10 panels): she is a focus of the reader’s attention without actually being the main person that you put yourself in the place of.
- In the sample episode of “The Slave of Form 3B”, Stacey appears in slightly more panels than she speaks in – there are only 3 panels that she does not appear in, compared to the 5 that she does not speak in.
Active doer, or passive done-to?
This can be a bit harder to determine, I think. Does the hero (or the person who might be the hero) kick off the actions and make things happen, or is she ‘done-to’ rather than actively ‘doing’? In girls comics there is a definite theme of the downtrodden underdog hero, whose heroism lies in her endurance and persistance rather than in solving the world’s woes, so this may be a less definitive way of singling out the hero of the story. What happens if we look at the two sample stories to check how active the characters are?
- Jane and Marty ensure that Amanda gets back to the dorm without being spotted and expelled (foiling her intent), and even sneak back the gown and mortar board that Jane dressed up in, to remove all evidence of what they were up to. But Amanda is pretty active too, by the end of the episode: she takes a pair of scissors from the needlework room and sets out to pick herself a bouquet of the headmistress’s prized tulips, as a way to get herself expelled. Honours are relatively even, though I think that on the showing of this single episode, Jane and Marty feel like the initiators of more action than Amanda does.
- In “The Slave of Form 3B” Tania is unconscious throughout the whole sample episode and therefore as passive as she could possibly be. Stacey initiates the action throughout: she hides Tania out of sight of possible rescuers, and she makes it look as if Tania has run away. The teachers initiate a search of the grounds, but again Stacey’s action is the decisive one as she lies to the other searchers to decoy them away from where she has hidden Tania.
Who has the emotional journey?
Pat Mills is currently writing a series of blog posts on storytelling, and one of the recent entries is on the Emotional Journey. Many thanks to him for this post, as it was something I nearly overlooked in this series of tests. We can sensibly ask, is there a shape to the story and if so, who does that story-shape belong to? There are a number of fairly well-worn story ‘shapes’ and these also help to identify the main character. ‘Spoilt girl redeems herself’ is one of them, and ‘brave girl beats her bullies by enduring’ is another – and by phrasing the story in this way you immediately understand who the hero is. But another way to think of it is, who undergoes the emotional journey – who is changed by the end of the story? Not all stories necessarily have change as part of their core structure, but many do, and it can provide an interesting contrast to the answers derived from the other tests.
- To answer this question you need to think about the story as a whole, not just individual sample episodes, so it can be harder to determine unless you know the story reasonably well. I don’t know “Amanda Must Not Be Expelled” very well but Mistyfan has provided a detailed synopsis. From this it does look very much to be the case that it is Amanda who has the emotional journey – going from desperately wanting to be expelled to being glad she never managed it, and from hating even being at school to being proud of it and wanting her team to win. Jane and Marty do not obviously seem to change throughout the story, their motives and psychology remain pretty consistent.
- In “Slave of Form 3B” then again, when we look at the overall story, the sense of who is the hero is rather different from when we look at the details. Tania, who starts off the story weak-willed and very passive indeed, ends up still pretty ‘done-to’ rather than actively bringing about Stacey’s downfall. It is Tania who is acclaimed by her schoolfellows due to her persistence and survivorship, so at least she is changed from being a timid outcast to being someone that all her fellows know and think well of. Stacey, in contrast, has not changed her motivation or aims at all; if anything she has just become more fixed in her ambitions. The arc of Tania’s emotional journey is rather tacked-on in the final episode or two though, which dilutes the effect considerably.
I called the above ‘five key tests’ but of course most of the time it’s hardly necessary to apply a series of tests to determine who is the hero or main character in a story. For more unusual cases like the two stories chosen here, it can however shed some interesting light on aspects of the story.
- Is Amanda the main character in “Amanda Must Not Be Expelled”, or are Jane and Marty the real heroes? If you just look at the sample episode then Jane and Marty are acting much more like the main characters – they are the ones that the reader sees and hears, and the ones who move the action forward more substantially. But taking the story as a whole, especially when you consider the intention signalled by the story title, it is Amanda who the story is most ‘about’, as the person who has the significant emotional journey. Perhaps if we re-ran the tests on who we see and hear, and who initates the action, based on a later episode, she would be more obviously marked as the main character?
- Is Timid Tania, who is the Slave in question, the hero of “The Slave of Form 3B”, or is it wicked Stacey? Stacey is by far the most active and most visible character throughout the story, though there may be other episodes where she does not dominate the action quite as fully as in this sample epsiode. The final part of Tania’s emotional journey feels very tacked on at the end, though there are earlier points in the story where she stands up for herself to some extent. Even taking the story as a whole it does not feel like Tania is ‘really’ the main character; possibly the writer intended her to be so, but had much more fun writing the frankly rather evil Stacey instead!
9 thoughts on “How do you know who’s the hero (in British girls comics)?”
I like how you are citing the Amanda Must not be Expelled entry for this. Amanda, Marty and Jane are, in their own different ways, heroes IMO. Stacey is definitely not the hero of the story because she’s the baddie. Tania would be more of a hero if she gained some strength as her timid counterpart in “Creepy Crawley” did. Maybe the hero of The Slave of Form 3B is the Colonel who realises Stacey is bullying Tania somehow and catches Stacey out with his daughter’s help.
Don’t forget that I’m not meaning hero so much as ‘main character’ – I don’t really mind the difference between an anti-hero and a hero, for the purpose of these tests. It’s certainly not about who’s nicest.
You’d think the good one, or the one who turns into/out to be the good one is the hero, but it’s not that simple at times. Take Helen’s mother in Judy’s “Hard Times for Helen” for example. She is by all accounts a good woman, renowned for her kindness and always helping others. But she is the antagonist of the story, and it’s her actions once she becomes Superworker (working too hard, neglecting Helen, being thoughtless and unfair to Helen, never saying no and expecting Helen to do the same regardless of inconvenience, dumping Helen with stuff she hasn’t time for, creating money shortages by being too generous) that start the problems that cause Helen so much misery. So hero of the story she is not, though she is not really the villain either.
Or the clown from “The Fairground of Fear”. At first he appears to be the villain, but then it emerges the true villain is Sir Edgar Whitland, who framed the clown and made him what he is. The clown eventually becomes a good guy once his bitterness evaporates, but is he a hero?
Maybe you should do a followup on villains. Pat Mills is going to on his blog.
I will certainly need to think about villains! But I think I’ll look at the emotional journey first.
One question about villains is it the villains who make the story great? This is certainly the case in The Slave of Form 3B. But in Bunty’s Catch the Cat, it is definitely not the boring, colourless Commandant that makes Catch the Cat such a Bunty classic. It’s the Cat. The evil of Nazism is the real villainy.
Picking up on another bit in your comment – antagonist is a good word, isn’t it. It’s not the same as villain as you say: Helen’s mother is not a villain but is definitely an antagonist! You could perhaps say that a villain is a malicious antagonist.
I’d say the antagonist is the one who makes the story *be a story* by giving the main character something to do, sort of thing.
I agree it can be ambiguous in some titles, especially when the character is more antagonistic. “The Honourable S.J.” springs to mind,although S.J is the title character and has a lot of panel time, she doesn’t change, it’s Ann Smith who has the emotional journey with S.J. being someone she has to overcome. But then S.J. returns in other stories some prequels “Young S.J.” I would say she’s the main character in those.
A good example of a story with two potential heroes (that are both nice people) I think is Spellbound “The Nine Lives of Kitty Foster”. It is Sue Graines investigation that starts the story off and she remains active throughout the story, while it is Kitty’s name in the title and she goes through the emotional journey finding out her parents weren’t criminals and taking a stand against her blackmailer.
It is an interesting topic to think about.
Taking a non-girls’ comic example, The Dracula File, vampire hunter Stakis goes through the emotional journey, going from KGB agent to defector because his conscience won’t let him leave the West to the mercy of the vampire. But the main character is definitely Dracula. For one thing, he’s not a cardboard villain or vampire. There are things to make him a more rounded character. For example, he gets a bit of culture shock at 20th century Britain, and flashbacks that suggest he has been traumatised by previous experiences with vampire hunters. He also provides the (black) humour of the strip, such as when he drops into the cinema when they are watching a Dracula film or crashing the fancy dress party. Yet he’s not the hero of the strip – he’s the villain, and we all want Stakis the hero to drive the stake into him.