When I talk about “the Trickster archetype” here, I’ve been using it to refer to fictional characters, with “archetype” being essentially a synonym for “really old codified trope”. But this phrase has also been used in more psychological contexts, specifically those drawing from the work of Carl Jung, who played with the idea that we each have our own inner Trickster, a manifestation of our playful, childlike, perhaps even animalistic subconscious. Creativity can be considered a “trickster impulse”, as can the urge for rebellion (a combo of the two is perhaps the most powerful modern Trickery there is—Helena Bassil-Morozow talks about this a fair bit in The Trickster and the System). I keep saying that we come back to this character type again and again because it means something to us, and whether I intend to or not I’m being pretty Jungian with that statement: maybe Trickster characters have such a strong appeal because they scratch a deep subconscious itch, call to us on a fundamental psychological level, and are ultimately “fantasy figures who do what we cannot or dare not” (to quote Lori Landay), fulfilling an ancient and intrinsic yearning for power and playfulness, and, well, to be a bit of a shit now and then. Continue reading
[This post contains minor spoilers for Stars Align, and mentions of domestic abuse, bullying, and homophobia]
Earlier this year, Netflix released an original movie called Tall Girl. With the title describing the subject matter with almost light-novel-like precision, the film was about a girl who was tall, and how difficult her life was because of this. “You think your life is hard?” The Tall Girl asks the audience, in a scene now immortalised in meme form. “I’m a high school junior wearing size thirteen Nikes. Men’s size thirteen Nikes. Beat that.” Now, while there’s a valuable conversation to be had about how traditional beauty standards expect and demand that women be petite and delicate and thus a lot of taller ladies feel left out of the loop by this, a lot of people felt it was… perhaps a bit of a stretch to pass The Tall Girl off as oppressed for her height in the way the movie seemed to indicate.
After watching the trailer with my circle of friends, conversation immediately turned to the fact that she was still, as far as we could tell, cis (a movie about a trans girl who overcomes her insecurities about her height and finds love could make for a great inclusive cheesy rom-com!), straight (“why doesn’t she just date a girl? Sapphic girls love tall women!” – WB, paraphrased, but nonetheless spitting wisdom), white, and well-off enough to live in the American suburbs and attend a Hollywood-pretty high school (and of course afford those size thirteen shoes).
If they wanted to write a story about a young person dealing with the pressures and daily traumas of being a social Other… basically, they could have gone a million different ways, and having their hero be tall seemed like a bit of a cop-out. Again, while this isn’t to say that this character has no problems in life and should stop whining, the marketing material seemed to be working overtime to highlight a marginalised status for The Tall Girl that ended up feeling horribly insincere by the end of things. And, when you’re telling stories about young people struggling in the marginal place they’ve been pushed by societal norms, sincerity really is key. Continue reading
Sex is considered an intrinsic part of being human, and the development of a relationship with sex and sexuality an intrinsic part of growing up. This societal narrative leaves people on the asexual spectrum—those who do not experience sexual attraction—on the margins and considered abnormal. This can have an especially negative effect on asexual adolescents who are not experiencing the ‘rite of passage’ that is sexual desire and experimentation with sexual relationships. This is why—as with all queer identities—it is important to represent and normalise asexuality within fiction, particularly fiction aimed at young people.
In this paper I examine two young adult novels with asexual protagonists—Kathryn Ormsbee’s Tash Hearts Tolstoy (2017) and Claire Kann’s Let’s Talk About Love (2018)—and how their protagonists’ asexual identity is woven into their coming-of-age stories and romance arcs. I explore the tropes, stereotypes, and misconceptions that have traditionally informed media depictions of asexuality, and how these novels divert from them to provide a more accurate and nuanced representation of the asexual experience; and, in doing so, establish patterns and tropes of their own from which a uniquely ‘asexual narrative’ suggests itself.
This academic paper is now published, out in the world, and free to read in RoundTable!
Often the most fun and fascinating worldbuilding details are the ones that come from very everyday situations. What do people do for fun, in this speculative setting? What do they eat? Where do they get that food from? What are folks buying and selling, and how are they going about this? What about all the background characters in those stories about saving the galaxy—what are those people doing day-to-day, what are they dreaming about, aspiring to, distracting themselves with to get by on their daily grind? While these are often incidental, extra details that pop up in (and enhance) the background of more epic adventures through space, they’re at the heart of Carole & Tuesday. Continue reading
My presentation on how Life is Strange and Until Dawn let us mess around with tropes (and interrupt them in motion) is now published as a journal paper! It’s free to read here.
It’s always nice to rewatch something you used to love and say “hey, this is still real good”. I had that experience recently with Community, the meta-humour-heavy sitcom about a bunch of misfits attending community college and becoming unlikely friends, with plenty of shenanigans along the way. This premise would be enough to carry a perfectly fine comedy on its own, but Community always stood out for its ability to get a little bit abstract and absurd, often referencing or parodying some other genre works in the process. Season three is my favourite by far, and features some of the show’s best-written, most creative, and dare I say iconic episodes. The combination musical-horror-story-Glee-parody? The Halloween shorts? The documentary about the pillow war? The one that mostly takes place inside a retro 2D platform game? The Law and Order-style investigation into a smashed yam? The timeline-hopping “what if?”-exploring “Remedial Chaos Theory”??
But why did season three get so good, and why are the ones that take aim at a genre, show, style, or collection of tropes so good in particular? What’s the gold nugget at the heart of these wild, convention-skewing episodes? After some thought, I think I’ve figured it out, and it ultimately comes down to a deep amount of care for these creations… even while laughing at them. Continue reading
When done right, there’s nothing more frightening than a bunch of Good Kids in mortal peril—making it perfect subject matter for a hybrid fantasy-sci-fi-horror story, and making The Promised Neverland my newest voluntary source of stress every week. There’s a lot to be said for how the show uses its aesthetic and composition to create a feeling of dread, but today I want to talk about a particular set of tropes and literary traditions that it’s tapping into. So what familiar imagery is at play in The Promised Neverland to enhance its horror… and what does Charles Dickens have to do with it? Continue reading