Obviously everyone's line for immersion is different, I won't argue that. But in classic tragedies, the point is not that the characters are acting illogically, they are acting the only way they can. They may be stupid or illogical, but that is beside the point. It is not a failure of willpower, because there was no choice or alternative. The characters are not as well informed as the audience, I could even be pretentious and call it meta-dramatic irony.Jonluw said:My point wasn't only that not feeling pity for the character was a deal-breaker. More that the character simply acts in such a stupid/illogical way that he just ceases to be believable, and makes it impossible for the reader/viewer to become emotionally invested in the character. It breaks the immersion.Archangel357 said:You're not necessary supposed to feel pity for the flawed hero. The thing is, in most plays, there is more than one character. Watch, say, Ibsen's "The Wild Duck". If Hedwig's fate - caused by the bloody-mindedness of a man who only means well - does not make you cry, you have no heart.Jonluw said:And you don't see how some people just can't feel pity for someone who drives themselves into their own doom?
The fundamental flaw is the dealbreaker here. The character simply isn't believable to some if he keeps doing stuff that will obviously lead to him ending up six feet under.
I, for instance, do not feel sorry for gluttonous people who die from diabetes type 2, just because they can't control themselves.
*He wrote, while contemplating whether to go get another piece of gingerbread-dough.*
For example, the horror movie trope of splitting up to search the haunted house (or whatever) is derided because it should be apparent IN CHARACTER that splitting up is a bad idea and should not even be explained by fear (because being afraid should make them want to stick together).
When the inexperienced Juliet sees her "true love" Romeo dead, she lacks the audience's knowledge that their affair may have been fleeting, that she could fall in love with another person eventually etc. It seems perfectly in character to commit suicide.
Romeo is in a similar situation. He is entirely devoted to a world view of Romance, of huge highs and lows and grand gestures. He has recently fought to the death, killed. Therefor, suicide is a fitting end to the life story he has created.
Again, I stipulate that everyone's immersion is different, and all this may sound like hogwash.