Exchange of Realities

It’s one of the most powerful and subtle tools we have. Done properly, it can put a lasting impression in the minds of our audience, and even they might not quite tell what it was. We’re immersed in it and perpetually using it in real life, and may not even need to go to the next room to study it. But despite this, it’s often one of the biggest weaknesses of both the GM and the writer.

As you’ve probably guessed from the title, it’s body language. All the subtle or not-so-subtle nonverbal cues that we read when we’re conversing with people fit this category, from facial expression to posture to hand gestures—even little things like where someone’s legs are when they sit!

Understanding it and utilizing it has a number of applications in characterization. Many of these are quiet enough that our audience may not consciously register them, but will still create some sort of impression.

The first, and most intuitive, is emotion. Body language, particularly facial expression, is often an indicator of people’s feelings; they might droop when sad or bounce when happy, ball up their fists when upset or turn away when offended, raise one or both eyebrows or lean closer when intrigued or skeptical. This is particularly useful in mysteries and political intrigue situations, since it’s harder to hide body language than to avoid saying things.

Another is getting across the dynamic between two characters. Imagine a man and woman in their twenties walking along a sidewalk. Simple image, right? What does it say if they’re walking in something approximating step, and one is behind and a little to the side of the other? How about if one’s walking briskly, and the other’s hurrying to catch up? Or if one’s clinging to the other’s arm? How about if one is practically falling off the curb trying to give the other a wide berth? How does the situation change if you switch which is in which role?

Yet another way is getting across personality, whether innate or due to some sort of history. You can say a lot about a character by how they walk and how they stand, what they do with their hands and feet when they’re not using them, and how visible their emotions and gestures are. Even small details can have large implications: consider for a moment the difference between a woman with one hand over her chest and a woman with her arms over her chest.

For additional challenge and result, there’s trying to use the above to get across an impression of a character without being too obvious about it. Want to create dislike for a character? Give them no sense of personal space, or an innocuous but obnoxious habit. Trying to establish them as not-a-threat? Maybe they curl in a bit and look smaller than they are, or speak quietly, or hide behind things. Want to give the idea that a character has something to hide? Have them avoid eye contact, even to the point of turning away from the people they’re talking to; keep their arms folded over their chests or firmly clasped out of line of sight.

Done right, these tricks can add a richness of detail and a wealth of hints at things to come to any character. Tried it? Seen it work?