Look… your teen years are confusing as hell. In many cases I think dousing coming of age stories in magic and metaphor actually helps us comprehend them, which is perhaps why we as storytellers love structures like The Hero’s Journey so much, and also perhaps why Revolutionary Girl Utena so loves dealing in the abstract. The show’s first arc gives us the story not just of our hero Utena’s first steps into the strange dreamlike world of the duelling society, but her first clumsy steps into the world of young adulthood: the First Threshold she has to cross and the necessary first defeat that she has to go through on her personal Hero’s Journey. Just as ol’ Joe Campbell says heroes and mythic figures have to die to be reborn, so does childhood have to “die” to let said heroes grow towards maturity. For our hero Utena this first death/rebirth takes place at the climax of the Student Council Arc, and includes facing all the terrors of sexual maturity, self-identification, and the sad truth that comforting as they are, fairy tale tropes cannot always be applied to real life, and sometimes the “handsome prince” is a manipulative sack of dicks that you need to challenge to a swordfight. Continue reading
Have you ever wondered exactly what’s going on inside your friends’ heads? Of course you have. Have you ever wanted to take a surreal and frightening journey inside the physical manifestation of your friends’ thoughts, feelings, and worries? Maybe? No? Well, in these two series, you can!
Fiction provides us with a unique opportunity to see into the minds of others, in that we get to live out other people’s stories and lives and see the world through their point of view for a time. Fantasy and sci-fi elements that allow us to literally see into and interact with the minds of characters, such as the dream-diving in Paprika and Inception, take this a step further. Through literally venturing into a physical manifestation of another character’s mind, you can learn a lot about them that they may not show you on the surface, such as hidden insecurities and secret memories. And sure, as a writer you could get the same information across in a dream sequence that lets the audience see inside that character’s mind for a scene, but the act of physically entering someone else’s mental landscape is what I want to talk about today. It lets the other characters, rather than solely the audience, learn what’s going on in the subject character’s head, and does so in a way that also moves the plot forward and provides a physical adventure at the same time.
Puella Magi Madoka Magica and Flip Flappers are two series that, via magic, give their characters the opportunity to explore their co-cast members’ inner worlds, sending them all down a proverbial rabbit hole into surreal, symbolism-heavy, and often frightening landscapes that teach them (and the audience) something about their peers that they couldn’t have known before. The two series use a lot of the same tools, artistically speaking, but the consequences and emotional outcome of their heroes’ journeys into each other’s mindscapes is very different in each case.
Dream-dive to Lady Geek Girl for the full article!
ToraDora! tells a story about the bizarre tangled intricacies of teenage love, complete with matchmaker plots, zany schemes, and an increasingly convoluted love quadrangle that’s played for both comedy and drama. It also tells a story about how everyone has issues, inner turmoil, and inner selves that they keep concealed, usually with the intention of preserving a certain image of themselves for the people around them.
It starts small by introducing the audience to protagonist Ryuji, who most of his classmates assume is a delinquent because he has “the eyes of a killer” but is actually a studious, quiet, and compassionate boy. This makes him a neat foil to his classmate Taiga, who at first glance is small, cute, and unthreatening, but has an aggressive temper. These two outcasts prove that outward appearances can be deceptive, but as they become friends and agree to help set the other up with their respective love interest, this theme of outward persona versus inner personality deepens and becomes much more poignant.
Head to AniFem for the full article!
Recently, me and the rest of my cohort were tasked with summing our projects up in a short presentation–an exercise in all sorts of important skills, such as public speaking, and the ability to get your ideas across in a bitesized and succinct conversation rather than trapping everyone who asks about it in a long-winded in-depth discussion of research until their brains melt out their ears. Unfortunately, I had something approximate to The Black Death that week and couldn’t physically present, so I recorded the mini-lecture-that-would-have-been to send in for assessment. I thought I may as well post it here as well, as a further exercise in self-promotion and slowly moving past the instinctive insecurity I get at hearing my own voice. So without further ado: heroes! Gender! Archetypes! Woohoo!
If you really can’t be bothered, here’s the Three Second Thesis: Joseph Campbell says that The Hero is always a boy, and I think that’s a bit silly, so I’m writing about a Hero that’s a girl. It’s much more complex than that, though, really, so hopefully you can be bothered, and take a listen to the talk below (I do lose my voice at the very end, but bear with me–it’s a big improvement!):
Transcript: Continue reading
I’ll admit it, I started watching Princess Principal because it just looked fun. Young women kicking ass as spies in a steampunk fantasy version of turn-of-the-century London, set to a jazzy soundtrack and wrapped up in science-magic? Yes, please. I’ve been pleasantly surprised to discover that this show that I picked up solely for its geeky Cool Factor is… actually really damned good, delivering consistently sharp writing, interesting and layered characters, and some wonderfully efficient and intriguing magical worldbuilding that makes fantastic use of that old writing adage “show, don’t tell” that paints a vivid picture of its fantasy world from its very first scene.
Because it did such a good job laying the groundwork and piquing this viewer’s interest, let’s look just at the show’s first episode, and the small but important details the premiere gives us (and how) that let us build a picture of the world… without leaning too heavily on narration, pausing or cutting into the action to explain what’s going on, or having an audience point-of-view character that others teach things to.
Head to Lady Geek Girl and Friends for the full post!
Let me tell you some spicy goss I’ve dug up in my research.
If you’ve been with this blog for a while, you might remember my abridged guide to The Hero’s Journey, Joseph Campbell’s mythological theory of the Universal Narrative that is repeated as a pattern throughout the literature and folklore of the ancient world and deeply informs our current pop culture. You may also remember me tilting my head a little and pondering here and there that hey, this book kind of works on the assumption that the titular Hero is a dude most of the time. I am, it turns out, not the only reader who picked up on this. In 1981, scholar and therapist Maureen Murdock asked Campbell if there was a feminine equivalent to the decidedly masculine-tinted Hero’s Journey, and Campbell replied that…
“Women don’t need to make the Journey. In the whole of mythological tradition woman is there. All she has to do is realize that she’s the place people are trying to get to.”
Murdock, I can only imagine, kind of went:
…and in 1990 published her own book called The Heroine’s Journey. Continue reading