@Anvir
Creating a good character is a complex matter. I will point out some elements that can help you with the subject.
I must warn that the use of these elements that I will give next are directed to create characters in stories.
First of all, every character revolves around what you intend to tell with your story. It is what we call the element of the character's instrumentality, primary to his composition. The character's characteristics must be manufactured in accordance with the role he has to fulfill in that story.
Next, we must realize that well-built characters require a well-built world. The real world is the ideal starting point for the practice of character construction, once its elements are already organized for use in the construction of a story. Feel free to use or create alternative worlds, but be aware that if that world is not well built, your characters are unlikely to be.
Keep in mind that the process of making a character is about making an identity. In this context, the most important aspect of identity is personality. It is important to make it not look like it was made, so that the reader forgets of the fictional character and sees it as a real subject.
For the fabrication of the personality, we must return to the aspect of the character's instrumentality. Every character has a role to play in the story, so his personality will be built around that. The fundamental point is that the personality was not always there, it was gradually formed according to the character's trajectory. When talking about trajectory, take into account the ups and downs of this character's life. The fabrication of the character's purpose, habits and personality must revolve around this, always having a reason for the character to have developed them.
The origin of the character is very important, as it will define the predispositions for the formation of his trajectory. It is in connection with the origin that the character's background develops. Try to put effort into the constitution of this aspect in the construction of all the characters that have to play an important role in the story. Keep in mind that the reader does not need to know all the information that you are going to produce in this process, it will be used merely to help you develop the character, his world and his story. In fact, it is highly recommended that only information relevant to your story be shared with the reader.
The character's name is an important tool to captivate the reader, but still, to help him associate the character with certain characteristics. It is important that the name is treated as a complementary characteristic, and not central to that character, in order to avoid building the character around his name (unless it is intended to do so).
Archetypes are highly recommended for secondary characters. They can assist the author with predisposed models of characters, but care must be taken... Well-constructed archetypes can amuse the reader and make him sympathize with the character, while poorly constructed archetypes can make that character generic and uninteresting.
More specifically in relation to the hero and villain archetypes, stick to making characters with these archetypes appropriately. Nobody is merely good or evil, these are subjective concepts. Every character acts according to a certain conduct based on his motivations, consequent to his trajectory, so don't forget to assign reasons for a character's "benevolent or malevolent behavior".
By not using archetypes, two distinct results can be achieved: the construction of an authentic and attractive character or the construction of a character that is too unusual for the reader to identify with. In the attempt to build an unusual character, it is important that it is extremely well explained, so that the reader can understand his composition.
In general, every character has means of subsistence. This means of subsistence is what will define the character's qualification. It is the practice of a certain activity that enables the survival of the character. Logically, the definition of this element is so relevant that it will explain a good part of the character's personality.
When referring to qualification, direct your attention to two reflective questions: Does the character enjoy the activity he practices to ensure his subsistence? Is the character good at the activity he practices to ensure his subsistence? Working in this way may help you to define a more detailed context of the character in your story.
The physical aspects of the character are partially defined by their origin, for example, observe the physical characteristics that come from the ethnic origin of the character. In addition, there are also the characteristics that come from his trajectory, mainly from what concerns the constitution of the character's body, in this context, observing, for example, the physical constitution of his body in terms of strength.
The psychological aspects of the character, in general, have no immediate connection with his origin, being formed essentially by his trajectory. It is interesting to work with antagonistic and objective physiological aspects, for example: Rational / Emotional, Selfish / Altruistic…
Peculiarities are a good way to create sub-stories that say something about the character. A physical peculiarity frequent in stories is, for example, a scar, which always keeps a story. A psychological peculiarity, on the other hand, could be exemplified by a specific fear arising from a past situation.
With the above elements you will have great progress in character development.
If anyone is interested in discussing specific details of the subject, which do not concern the proposal for the publication, message me in Newgrounds or contact my personal email niwrad45@protonmail.com That way we can talk more about it.
