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Side stepping the mains – INNFINITY


side character syndrome

That life allows us to share and mould and pan it the exact way we want it to is at once both a merit and demerit of this luxury accruing to us. It is in such freedom of exercising choice that we end up sometimes as part of the good narrative of living while bearing the exact same quantum of chance of landing up instead in the bad. However another luxury of our affording within this assertion of life is that not everything has to be in extremes as well. In getting to determine the extent and intensity of how we do things it indeed is possible for us to sometimes be the elite and at other times the ordinary.

Except that nothing really is ever ordinary in living a life as special as it essentially is. Even the things that might occur as routine to one might be exciting to others, depending of course on the frequency of their indulgence as well as the cherishing of them. Our priorities are options for some as is our mains sides for the others- only that this serving of sorts need not always be one edible in the most literal sense of it.

Instead this reference in drawing asserts this time as being more an awareness in living rather than being a factor of it. In relating to our entire character in living- not so much in the sense of integrity and essence as in the occurring in temperament and personality to be a representation of our person, this hustle in the sides and the mains is a coming to be in much realer a version of reality- despite it being rooted first and foremost in considerations of the fictional.

Often obsessed upon a working of the imagination as a very convincing portraying of reality even when physical versions in living tend to be not so much harbouring of the endowments in clarity is what is understood as the main character syndrome. Easily discernible is the whys and whats of what this attribution in psychological terms occurs as and much universal as well a phenomenon in actual encountering of its sweeping exaltation of the self is this inclination to conceive grand ideas for oneself as being the protagonist and not just in their own life. The fascination is understandable indeed for a species as focussed on the self as us humans but it also in this singular ground of establishing its prominence that unfurls the opposite assertion of it in therefore much starkness.

Emerges therefore as quite the contrast even when the concept of its devising is one of complementary nature is the obsession- not so far rooted though as the precursor of it- is the side character syndrome. To claim it as an obsessive pursuing of the side people would be taking it too far already in a world only beginning to warm up to this possibility of something not as much destined to overwhelm. Let’s explore it then as a somewhat muted prospect for now, though no less exciting in the avenues of what it throws open- and in greater liberty as well. After all being identifying with the side character vibe need not be sidelining of your own persona as a human as unique as any other.

Upon first impression, the side character would not seem capable of being the kind of person that perks you up. After all they are but just another of the many beings that exist but still overshadowed by the greater excitement hyping up the main one. That they are not dwelled upon to exact lengths through which the main character stretches out- all in the fictional adherence to that line of distinction is what is more likely to make them not the ideal type to aspire to become. But it also is the fact that they are considerably relaxed therefore from the expectations of what should meet the gruelling demands of the real world that is what holds potential to present this larger bunch of existence as more appealing a prospect to scout for one selves- even when not in all absoluteness of course.

That side characters often take on the lesser ‘esteemed’ recognition of the side kick might render them as even less fancied conjurings of the imagination. But what they have been forever losing in interpretation, side characters are beginning to gain quite some of that for themselves lately. For in the side character’s state of existence has come to settle a realisation much invigorating- in discovering the benefits of being able to forfeit the excessive weight of many an unduly perfect leanings, these secondaries outside the primary consideration have managed to avail for themselves that exclusivity of the laid-back in very welcome evolution of their essence in understanding.

It also is such emerging in relativity of them as definite necessities of the main character that is what makes side characters also more expansive a perception of personality to dwell in. Think of it in contrast with the essence of what sums up the nature in occurring of the protagonist and the energy emanating from the side character is one greatly possibly in permeating through every aspect of any expanse. That despite the sides being supporting of the main and rarely opposing it thoroughly in any way and the premise of their consideration strikes as being one much intriguing indeed.

The merits of the main character might draw upon them being central to the narrative so much so that any dulling of their pace corresponds to an equal and exact effect of the account itself. In residing thus in such power of disrupting the flow of the fictional, they bear the unwanted responsibility of asserting must as multi layered, intricate beings of some complexity at least all within that singular dimension of their presentation.

Side characters on the other hand call upon themselves such identity that asserts over and outside their essential characterisation to also be explored in relation to the one they are expected to enhance most often while confronting also at times. They inhabit thus a dual scope in coming across as more assertive as far as the clarity of their depiction as individual characters are concerned. Even without the extensive effort in adding depth and layers to their identity, side characters can and do indeed reveal themselves in not any less individualistic preferences of themselves. This renders them more relatable in the real world where existences are seldom marked in exclusivity, instead occurring necessarily intertwined with many a parallel realities and lives each as ‘main’ as the other in mattering in and by themselves.

Interestingly though, such markedness in profoundity is also complemented by the toned down assertions of what side characters are in greater certainty of their intention. A life not always glared upon by the blinding focus of attention and therefore one affording the luxury in privacy in the fictional realm of governing is as realistic a depiction in living as can be in the ordinary order of existence. Dwelling in the shadows of the main lets them seek out in their own convenience such facets of personality that occurs as exciting in the sheer obscurity of them. Speaking in terms more comprehensive and greatly immediate as well would lead side characters to flaunt a life rewarding in the low key characterisation of fun and frolic and frills as contrasted to the emotionally taxing, physically demanding and morally constricting dimensions of the excessively explored main characters of the narration.

That there is not much interest in character development that the seconds of the fictional ruling is made to undergo might at once be both a setback and a merit of them. But in a world fixated for rather long upon the nauseatingly perfect depictions of primary characters, the chance to resonate instead with the secondary character is a wonderful alternative to bask in the simplistic allure of. No wonder this newly dawning aspiration of sorts in wanting to be more like no one in particular in that the sides abound in more than singular assertions coming to assume definiteness in being alluding to the elocution of the side character syndrome validates even more this now popular fad of identifying outside the protagonist aspect in popularity.

To come to think of it though, secondary characters have never been ignored really in the context of their perpetuating fictional assertions. Even in their being less attended to by the faculties of the human imagination, side characters have been imbibing of such desirables that more clearly represents the real world requirements. They are there always, perhaps not so much accounted for but still important in their own ways and most importantly in their own satisfaction of that ‘status’. And that exactly is why they are more realistic as well- side characters inhabit that dimension of actual dwelling where we are all priorities in our own lives but outside of that we cannot really claim anything in absolute surety.

In a twist of much interest again, it also reveals as quite another contrast that the side character syndrome should point also to another trope of perpetration. But even there the relevance in relatability strikes in being yet another fore of realistic depiction. Even in a different dimension of understanding than what we have explored all through in the identifying establishment of it, this version of the syndrome takes into account that recurring ‘motif’ in fiction of the side character specifically viewed as unimportant enough to almost always lose themselves to death.

Such interpretation of circumstances do not of course uphold the glory that side characters has come to encompass of late but in the fore of death they are made to confront, they tend to be even more believable creations than those warped in what is but a whimsical construct in forever. That forever does not exist in reality is at least as certain as the fact that none of us in the real world can ever boast of being the main character in every single life pursuit and in delivering so well that blow of practicality for it to be hitting exactly where it hurts enough to jolt us out of our flimsy reverie is what makes the side character syndrome strike as significant in its commanding of all attention.





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