Yeah, I get that point. I probably should’ve posted this on the other thread you linked to, and I don’t mean to nitpick-or whatever it is I’m doing...trying to dig something gray from a black and white answer-but saying that a mountain can’t be a dramatica-style character—that it can’t be an analogy for a process within the mind—seems overly limiting. I understand telling a newbie to the theory not to do it until they’ve become more familiar with certain concepts, but not that it can’t be done.
I mean, I’m sure that when leaving Dramatica out of it most people would agree that a talking book, or a talking car, or a talking animal, or a singing mountain is just a human in book or car or mountain form. So definitely those can be characters.
I agree. It’s probably not a character. It’s only a character if it is imbued with motivation.
But here’s the real point:
In a story, a person is not a person any more than a mountain is. Because they take the shape of people they are typically meant to do double duty as both characters and fully fleshed out humans, but, as I see it, what makes them characters isn’t that they come across as fully fleshed out humans but that they represent some aspect of the Storymind. If the audience isn’t meant to see the character as a fully fleshed out human because it’s an inanimate mountain, then it doesn’t have to do that double duty. It only needs to represent some aspect of the human mind.
Now, I’m not saying if it’s a good idea or a bad one to make your mountain into a full Antagonist, or even to make it a complex character with multiple traits. But I don’t definitely don’t see a problem with associating an inanimate mountain with a single trait like, say, Hinder or Avoid when it tosses storms and boulders at a climber. Maybe I’m thinking of character wrong, but in my mind having that one trait is enough to call it a character.
The reason I believe that it should be sound theory to make an inanimate object a character is because it’s not the actual mountain or person within the story that partakes in Hindering. It’s only the Storymind that partakes in Hindering when the Storymind looks at what is happening in the story and takes the perspective that throwing storms and boulders is an example of Hinder.