One of the first choices any writer has to make is how many protagonists will lead the narrative. Believe it or not, that number matters.
Too many, and you can barely get attached to anyone, just one and you'll never believe
the author would kill them off
So, which is the lucky number for Ensembles
Let's start at one
and work our way up. A lone protagonist is not some embryonic proto-cast that contains the traits of all Ensembles past and present, but rather has complete freedom to be whoever is needed for the story. Let's repeat that: lone
. Though a one-man hero doesn't have to be an antisocial loner
, they are very independent no matter what kind of character
they are. Even the wimpy Action Survivor
is at least able to survive. Interestingly, the best lone heroes make up for a lack of permanent cast with a varied supporting (though temporary) cast and (hopefully) some internal struggles to add depth
. The Person vs Person type of dramatic struggle is common for the lone hero. Needless to say they are also
invariably The Hero
(well, let's say protagonist to hedge our bets). Though that's kind of a "Duh" statement, read on.
- Common genres or stories: These protagonist can be in any story and are unweighed by a large cast, and so they can be Walking the Earth as The Drifter. Even if sedentary, they'll likely play the lone Action Hero against overwhelming opposition. What you won't see is either the typical drama with lots of long term character interaction, or a "stable" environment, these heroes will live and work in flux.
From there the duos
are an even split between two traits
in terms of body, mind, or temperament (usually all three). One is the the brawn to the other's brains; one is emotional and fiery while the other is more coldly analytical
; one is by-the-book while the other feels rules should be flexible
. The duo implies a certain level of equality; it's entirely possible for both to "share the billing" and be equal heroes. They'll likely be Heterosexual Life-Partners
, but if they happen to be different genders, it's practically a law there'll eventually be Unresolved Sexual Tension
(unless, of course, they are a Brother-Sister Team
). If this sexual tension is
resolved, then you have a Battle Couple
(cue the shipping). When the equality goes away, you have a different dynamic, The Hero
and their Side Kick
or Love Interest
. These duos are different in that the hero often serves as a mentor
to the sidekick or protector to the Love Interest
. It's unlikely for the sidekick to graduate from the role to a true equal.
- Common genres or stories: Again, any; however, duos gain a certain level of stability as compared to lone heroes. The character interaction between them will often become deep and nuanced to a degree not often seen with other ensemble numbers. Duos are likely to be in Action-Adventure shows, possibly playing Detective or fighting crime.
When you get to Power Trios
the different splits get more interesting. The personalities divide into three, not so much dividing the Red and Blue oni
as creating a "balance" personality wholecloth. Note that any of them can be the lead hero. If the division is between physical and mental, it doesn't get degraded, but augmented with a balanced
character, a character to mediate the previous pair. If combat is involved, you get the Mighty Glacier
, and a Fragile Speedster
and/or Glass Cannon
. Interestingly, from Trio on down you start seeing the above archetypes merge into things like Genius Bruiser
. It's worth noting that from here on out a girl being in the group gets logistically easier
and much more common.
- Common genres or stories: A trio is downright homey, and not in the sedentary sense. Three is the number where a family of friends can be born; characters can become True Companions. Even if they don't see each other as a family, the dynamics between them will give viewers a sort of "safety net". Past this size, even when the group's adventures lead to them traveling the world (or galaxy), they will tend to work out of a base (or Cool Ship) which often becomes something of a character in its own right. Trios work best in genres where there's room to interact both with each other and with the environment, from here on down an ensemble can hypothetically devote an entire episode or chapter just to the cast interacting. These guys are likely to be in an Action-Adventure or Drama. Or both!
is a challenge: just enough people for things to get convoluted, but not enough to lose track of anyone. The Four-Temperament Ensemble
divides the Red and Blue Oni
in half again: the Red Oni splits into sanguine and choleric, and the Blue Oni into phlegmatic and melancholic. Alternatively, the characters can be split into a Four-Philosophy Ensemble
in which the characters have different viewpoints and philosophies, rather than personalities, which interact as they face problems and have to reconcile their differences to come to agreement.
- Common genres or stories: Drama is the order of the day for the quartet, particularly internal drama. A quartet is likely to 'split up' in a given episode, giving each a chance to play off not just each other but dealing with the various aspects of the plot and the week's guest characters. Expect occasional reminders of why everyone is special and important, even if they're Muggles.
and anything beyond that point tend to vary quite widely in makeup, as the personality and physical traits by this point can be pretty arbitrarily mixed and matched without worrying about maintaining a "balance
" in the cast. Typically, The Hero
stops being a label and becomes a physically distinct character type that leads the ensemble's members. It's quite common for a group of five to consist of two trios (and an optional extra), often based on gender - these may or may not conform to the Three Faces Of Adam
and the Three Faces of Eve
- Common genres or stories: Though roving bands of extended casts are not unheard of, they will carry their home with them, be it a space ship, a Mystery Machine, or merely the clothes on their back. These enormous ensembles practically write a Drama themselves, never mind having Hilarity Ensue due to outside events.
Beyond five, there are no hard and fast rules for the cast as a whole. However, even with Loads and Loads of Characters
, the cast members can be broken down into a Geodesic Cast
or a set of Cast Herds
, each iteration of which usually follows one of the archetypes listed above. Individual characters may belong to a single group only, or they may belong to several, with their role sometimes changing depending on which group they're interacting with.
See also How to Gather Characters
and Player Character Calculus
for the video game counterpart.
This list primarily applies to gaming and action/adventure tales:
| Cast Members || Role || Emotional-Temperamental || Combat || Weapons |
| One || The Hero || The Drifter, Knight Errant || One-Man Army || Any weapon available |
| Two || Brains and Brawn || Red Oni, Blue Oni || Bash Brothers, Force And Finesse || Sword and Sorcerer |
| Three || Freudian Trio || Kirk, Spock, and McCoy || Fighter, Mage, Thief, Jack-of-All-Stats (The Hero), Mighty Glacier (The Big Guy), Fragile Speedster (The Smart Guy) || Heroes Prefer Swords (The Hero), Luckily My Shield Will Protect Me (The Big Guy), and Magic Wand (The Smart Guy) |
| Four || "Leadership" || Four-Temperament Ensemble || Balance, Power, Skill, Gimmick || Heroes Prefer Swords (The Hero) |
| Five || "Spirit" || Five-Man Band || Squishy Wizard (The Chick) || Simple Staff (The Chick) |
| Six || The Cutie, Nerd/Geek, or Cloud Cuckoo Lander or Sixth Ranger || Add Token Evil Teammate || What varies from there and beyond are the types of weapons and magic/skills, since every number past five will invariably get convoluted || The rules for Combat apply, probably with 10+ weapon types and no/loose rules for specific usage |
| Seven || || Plucky Comic Relief, Kid Hero, or The Stoic || || |
| Lots || || || The Squad || |
There's also a set of the above for all girl casts:
And we also
have an evil version of some of the above: