How Do The Citizens React To The Protagonist'S Betrayal?

There’s something quietly political about how citizens are drawn in a lot of anime — they’re rarely just background extras. I often find myself staring at a crowd scene and thinking about what those faces represent: the weighed-down majority, the fragile safety net, or the boiling pressure cooker that will eventually overflow. In shows like 'Psycho-Pass' the populace symbolizes the trust (and surrender) to a system: people trade privacy and moral ambiguity for security, and the citizens become living proof of how algorithmic justice flattens human nuance. In 'Neon Genesis Evangelion' they read like a catalogue of alienation and small everyday griefs, the kind of grief that fuels the series’ existential dread. On the other hand, series such as 'Attack on Titan' use citizens as a mirror of fear and complicity — masses that can be manipulated or awakened depending on who holds power. Sometimes they’re also a moral chorus: their reactions highlight the protagonist’s choices, and in stories like 'Code Geass' you see citizens symbolizing class divides, latent revolt, or the tragic cost of liberation. I like to think of citizens as both scenery and conscience: they’re the world-building shorthand for values, apathy, hope, and the consequences of ideology. Watching these portrayals always nudges me to notice how real societies project themselves in fiction — and vice versa.

When I dive into a novel, I’m always watching the background chatter—the shopkeepers, the street kids, the housewives knitting on the stoop. Those citizens aren’t just window dressing; they’re tiny gears that set the whole clock in motion. A single shouted rumor, a neighborhood boycott, or a clerk’s refusal to serve an important character can redirect the plot just as effectively as a duel or a storm. In 'Les Misérables', the Parisian crowd becomes a kind of living force that determines who lives or dies on the barricades; in 'The Hunger Games', the collective defiance of the districts turns individual rebellion into revolution. Authors use citizens to externalize social pressure, moral norms, and the spread of ideas. On a more practical level, everyday citizens provide believable constraints and opportunities for main characters. They create economies (who buys, who refuses), legal and moral backdrops (who enforces the law, who looks away), and emotional climates (a town that cheers gives courage; a town that whispers suspicion isolates). I love noting how authors seed plot pivots in small interactions—a grocer’s secret help, a midwife’s gossip, a schoolteacher’s letter. Those moments feel authentic because they’re the kind of banal-but-crucial choices that would truly change someone’s life. When I reread a novel I often imagine nudging a minor citizen to act differently and then tracing how the whole story would flip; it’s a fun way to see just how much the crowd controls the narrative’s fate.

The telescreens in '1984' are a terrifyingly effective tool for enforcing obedience, serving as both surveillance devices and propaganda machines. They are omnipresent, installed in homes, workplaces, and public spaces, constantly monitoring citizens for any signs of dissent. The screens broadcast Party-approved content nonstop, reinforcing the ideology of Ingsoc and drowning out independent thought. What makes them particularly chilling is their two-way functionality—they not only transmit but also listen and watch, ensuring no moment of privacy. The psychological impact is profound; even the suspicion of being watched alters behavior, creating self-censorship and paranoia. Beyond surveillance, the telescreens are a symbol of the Party's absolute control. They erase the boundary between public and private life, making rebellion nearly impossible. The fear of the Thought Police, who might be watching through the screens at any moment, forces citizens to perform loyalty even in their most intimate moments. This constant scrutiny conditions people to accept the Party's reality, as any deviation could mean arrest or worse. The telescreens aren't just tools; they are the physical manifestation of Big Brother's gaze, a reminder that freedom is an illusion in Oceania.

Some of my favorite secrets in any book series are the tiny everyday ones—the whispers you overhear in a marketplace, the smudged ledger kept under a baker's floorboard, the false name used when someone buys a train ticket at midnight. I love how authors hide whole ecosystems of truth in those small things. In 'The Lies of Locke Lamora' style capers, for example, citizens hide gambling debts and forged favors behind elaborate jokes; in a darker neighborhood straight out of 'The Handmaid's Tale', people tuck contraband letters and recipes into hollow sewing-rooms, a form of rebellion that feels intimately human. I remember flipping pages on a late-night subway ride, feeling like I was eavesdropping on an entire city’s nervous heartbeat. Beyond personal lies, the best secrets are structural. Bloodlines, old treaties, and lost maps are often buried by those who profit from oblivion. Whole religions can be secretive cults rebranded as civic tradition; whole economies can be powered by illicit smuggling routes maintained by kindly grocers and "respectable" magistrates. Sometimes it’s magical: citizens hiding latent powers because the law forbids them, like secret wizards in a neighborhood where magic is treason. Other times it’s mundane but devastating—who voted for what in a coup, who sheltered refugees, who kept silent during a purge. These are the things that turn a setting from wallpaper into a living, breathing place, and I adore tracing the clues authors leave for readers brave enough to look behind every curtain.

There are a few classic beats that filmmakers use when they want to show citizens actually rising up, and a bunch of movies use the same visual language. If you mean a movie like 'V for Vendetta', watch for the slow shift from isolated acts to mass participation: first there are small acts of civil disobedience (graffiti, anonymous broadcasts), then local protests and spontaneous gatherings, and finally the huge crowd outside Parliament wearing Guy Fawkes masks. Those middle scenes—shopkeepers closing in solidarity, people refusing to show ID, and the montage of ordinary citizens doing small, risky things—sell the idea that the rebellion isn’t just one person but an idea spreading. If the film is more like 'Les Misérables' or a historical-style drama, rebellion scenes are often concentrated around public, symbolic spaces: the barricade building montage, students arguing and then singing together, the clash with armed forces, and quiet private moments where characters decide to join. The camera will cut between the crowd’s chants, close-ups of hands arming themselves, and the faces of civilians—these are the scenes where the movie says, plainly, “this is a people’s revolt,” not a military coup. I always get chills when a film shows small, human gestures—a baker handing a gun to a student, a choir joining a protest—that quietly shift the story from isolated dissent to full-on rebellion.

Sometimes I catch myself listening to a film's crowd as much as its melody, and that’s where the real magic happens for me. When citizens are present in a scene — whether they’re murmuring in a market, singing a protest chant, or clapping in unison — they act like living instruments that nudge the composer’s palette. A melody that felt intimate can inflate into something communal simply because a chorus of voices adds harmonic color or rhythmic punctuation. I’ve seen this in scenes where a single violin line becomes a swelling anthem once the townspeople start joining in, and the mixing choices (how loud those voices sit against the orchestra) decide whether we feel uplifted or ominous. Technically, directors and composers lean on diegetic sound (what characters hear) versus non-diegetic score (what only the audience hears) to steer mood. When citizens provide diegetic elements — street musicians, chants, or even heavy footfalls — composers will sometimes mirror those motifs in the non-diegetic score, creating emotional reinforcement. That’s why a protest sequence can feel both chaotic and unified: the tempo of the crowd sets the rhythmic energy, percussion-like stomps increase tension, and the composer overlays a leitmotif in a different register to guide your empathy. Live audience reactions in theaters can amplify this further; I recall a screening of 'La La Land' where the crowd’s applause after a big number made the next quieter scene feel unbearably tender because the contrast was so sharp. Beyond technique, citizens anchor cultural context. A rural chorus carrying a hymn colors the scene differently than an urban crowd chanting slogans; instrumentation, dialect, and vocal timbre all contribute. For storytellers, that’s gold — it turns background extras into a chorus that shapes pace, color, and the listener’s pulse. I love spotting those layers, and sometimes I rewind just to hear how a single cough or distant cheer reshaped the whole soundtrack.

I'm the kind of person who will sit on a park bench with a recorder and a thermos and listen for hours, so when people ask what interviews reveal about citizens' origin and meaning I get a little excited. Interviews—especially life-story and oral-history ones—pull back the curtain on where people come from: migration routes, family myths, the village names nobody on a map knows anymore, and the small rituals that mark belonging. They also surface the everyday reasons someone calls themselves a citizen: paying for a child’s school, claiming a neighborhood corner, or voting because great-grandma did. In practice, I find that unstructured interviews reveal the soft, messy parts—nicknames, food, music—that formal surveys miss, while semi-structured interviews help tie those stories to bigger themes like displacement, identity, and legal status. Projects like 'Humans of New York' or the interview tapes in 'The Civil War' show how personal origin stories become collective memory, and how meaning is made in mundane details: a recipe, a protest sign, a childhood street vendor. Listening longer changes how I see citizenship: not just a legal box, but a narrative people live in, edit, and pass on.

There’s a subtle art to how citizens get redesigned when something moves into a manga format, and I get a little giddy tracing the changes page by page. For me the biggest shift is always about readability: when color and motion disappear, artists lean into silhouette, distinct accessories, and stronger facial silhouettes so every person on the street reads fast. Clothes get simplified into shapes and patterns that read well in grayscale — a floral dress becomes a dark block with a white collar, or a bright jacket is suggested with a heavy line and a unique zipper. On a rainy afternoon I lined up panels from the original and manga side-by-side and started sketching those differences; the assistants' influence shows up too, with repeated background citizens adopting the same hairstyle or coat because it’s efficient on deadline. Another thing I always notice is emotional clarity. In the source material a crowd might be a blur of faces; in the manga adaptation the crowd often becomes symbolic: shadowed silhouettes with one detailed pair of eyes, or a child with an oversized hat to show vulnerability. That changes how scenes land emotionally. Worldbuilding cues shift too — socioeconomic hints that were hinted at with color palettes get translated to textures and props: a torn sleeve, patched knee, or a lapel pin. Sometimes that makes the society feel richer; other times it flattens nuance. Either way, I love comparing the two versions and spotting the tiny choices — a scar added, a hat removed — that change how you read a whole scene.