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alt title(s): Informed Attribute
Picard asks Troi for her opinion, and in the most shameless example of Informed Attributes I think I've ever seen, Troi outlines, describes, and explains the entire character of Okona for us. "His emotions suggest he's mischievous, irreverent, and somewhat brazen! The word that seems to best describe him is 'rogue'." This! Is! How you will feel about this character! Live it, love it, learn it! Okona: The Freshmaker! Keep in mind, none of this will turn out to be true about Okona. At least, not from anything we'll actually see.

A character's skill and abilities are frequently mentioned by the cast, but are nonexistent in practice.

This has less to do with a show's budget constraints and more to do with sketchy writing. Technical consultants can prevent some of the ones that are caused by research failure. On TV and in film, body doubles can be used to avoid the problem if it is physical; camera angles and other tricks keep the audience from being able to tell it's not the main actor doing the singing, dancing, etc, which allows someone who can do them to play those aspects. Though, in areas where body doubling can't be done (for instance, theatrical dancing) or has a severe stigma (with live-action musicals, modern Americans often prefer hearing actors whose singing is a Real Life Informed Ability to having someone who can sing do those actors' singing parts), this is more likely to turn up.

Other forms are more intractable. This happens a lot with "inner" abilities such as intelligence, charisma, cunning, etc., which cannot be simulated with special effects and are dependent on acting and scriptwriting talent. Scriptwriters cannot give what they do not have; and while a good actor can sometimes give what the script doesn't, not-so-good ones can't always give that, and sometimes can't give everything the script could provide.

It occurs with creative abilities such as painting, writing, choreography, and especially musical composition. When a "creative" character is introduced and said to be talented, the works they produce frequently can't live up to the hype when they are presented to the audience — but we are still supposed to treat them as if they were. The problem is, unless you've hired the greatest writer/painter/composer/choreographer in the world to do the work or are that person yourself, the viewer may be underwhelmed. And if you aren't even sure what makes for a great work, or have misconceptions, your audience will really be in for it.

The media the story is being told in can affect the issue. A great novelist in a movie cannot provide us with more than choice quotes — the manuscript would make boring viewing after a certain point, and thus it usually gets translated into cinematic form the same way flashbacks that start as dialogue do long before then. You can usually tell a bad novelist in a film — and this trope comes into play hard if that happens (or fails to happen) by accident. But there's no way to tell if a great one is great; that has to be Take Our Word For It.

This happens especially often for characters who are supposed to be intellectual geniuses; many of these seem only slightly smarter than normal viewers. If the executives believe too firmly in Viewers Are Morons, they might not even seem that smart. This is partly because producers describe a character as a "super genius" when all that is needed, and provided, is an otaku, obsessed collector, or trivia junkie. Also, it is difficult for a writer of mere above-average intelligence to write "the smartest person the world has ever seen ever" because people that smart tend to see the world differently. (And if the writer isn't even that smart, look out!)

This can be frustrating to the audience. But it can work when it is deliberately silly, such as (from Buffy The Vampire Slayer) the Fyarl demon's "mucus" power, which is referred to but never employed. Then it is like a continuing version of the Noodle Incident.

This also happens when RPG characters are built up to be huge villains in their profiles, making it crystal clear they will show up, and then turn out to be a Joke Boss. (The nature of the RP, though, is at least partly to blame.) In fact, this can happen with any Designated Villain, especially when all the villainy is offscreen. Designated Heroes get it even more often (if we saw the heroism, then they wouldn't be Designated).

By definition, Faux Action Girls have Informed Abilities — namely, their being Action Girls.

Lets Get Dangerous is when an ability abruptly ceases to be Informed and is shown to be real. If the ability is revealed at all, then it ceases to be an Informed Ability.

Informed Flaw is when this trope is applied to a character's shortcomings.

This does not apply to situations in which the rest of the cast ascribe an ability to a character that he does not possess because they do not truly know the character. This is when the rest of the cast ascribes an ability to the character when, judging from the evidence, they should know better.

There used to be an Informed Attribute trope, which detailed things about the character that never manifested, like blue eyes in an art style that only portrays black or how the character likes to draw despite never actually doing so. However, confusion led to it being merged with this trope.

Not to be confused with Take Our Word For It, though there may be overlap. Take Our Word For It is when the writers don't show it because they know they can't do it justice. Here, they often do try to show it — and fail.

This often occurs when Shilling The Wesley.

A Sub Trope of Show, Don't Tell. See also Informed Deformity, Hollywood Homely, Informed Attractiveness.


Examples:

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    Anime and Manga 

    Comic Book 

    Film 

    Literature 

    Live Action TV 

    Newspaper Comics 

    Professional Wrestling 

    Tabletop Games 

    Theatre 

    Video Games 

    Webcomics 

    Web Original 

    Western Animation 


Faux Action GirlShow, Don't TellInformed Attribute
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