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
I spent my 2017 academic year picking a fight with Joseph Campbell and his blithe assumption that The Hero can only ever be a dude. Well, as my focus shifts from Heroes to Tricksters, the same issues crop up. The most famous mythological Tricksters discussed in the field and in popular culture tend to come from the following list: Norse Loki, Greek Hermes, West African Anansi, Polynesian Maui, and various versions of the archetype that appear in Native American mythology in the form of the Coyote, Raven, and Hare characters. These are all Trickster gods rather than goddesses. Lewis Hyde—whose book Trickster Makes This World I’ve quoted a few times in this series—quite confidently declared that “All the standard tricksters are male”. And, in a broad sense, he’s correct. But does this need to be the case? There are plenty of folks—including one particular writer I’ll be looking at today—who say “c’mon, my guy” and disagree. Continue reading
Fittingly for a series so inspired by theatre, Revue Starlight has quite a spectacular finale. Across its twelve-episode run, the musical, magical, swashbuckling school story explores themes of competition and rivalry, unfair systems, and love and friendship. It brings these all together in an ending that packs a wonderfully metatextual and rebellious punch, with its main characters Karen and Hikari (and the relationship between them) taking the lead.
You knew I wasn’t finished writing about this show. Read the full piece on AniFem!
In the midst of talking about what Tricksters are, let’s take another brief interlude to talk about what they’re not. Last time I mentioned that Kyuubey isn’t a Trickster just because they’re tricky, and neither are most others who fill the sort of Faustian demon role in their story, and I want to expand on that. However, I also want to look at a couple of demonic (or demon-ish) characters from fiction who do fit the archetype, and explore exactly why. Demons and devils (and fantastical equivalents of these things) can be Tricksters, but it’s not because of their devilishness. Rather, it’s almost in spite of their devilishness, and comes down to a few key points including, once again, their place in the narrative itself. With a spoiler warning for both The Good Place and the recent state of the Black Butler manga, let’s dive in. Continue reading
Storytelling has been an important part of life for essentially all of human history. In this long tradition of tale-weaving there are a few structures and archetypes we just keep coming back to, from ancient mythology to modern movies. One of them is the Trickster, which, in my view, is entirely fair—after all, it’s one of the most blatantly fun character archetypes out there, brimming with cheekiness and social commentary and a degree of unpredictability that you don’t always find with stories about, say, Heroes or Lovers. We’re not telling stories of gods and monsters so much these days, but this ancient character type is still strolling through our popular culture, though perhaps in slightly different shapes and sizes. Continue reading
Well, I went and did it–after years of unshakable love-hate fascination with Life is Strange and Until Dawn, I’ve taken the leap into the fire and brought discussion of them into my work life. This video is a recorded version of the conference paper I presented last week in Perth, preserved for the ages and intended to be accessible to those who couldn’t be there to see it in person (which includes folks outside the academic field). I explore how branching, interactive stories give us the opportunity to mess around with tropes and genre conventions, and the weird Schrodinger’s Cat conundrum that these games can both play into historically harmful cliches and subvert them, and neither result is more “canon” than the other. Check it out if you’re interested!
The women of Dragon Pilot: Hisone and Masotan have a lot to deal with. The central premise of the show is that dragons exist and have been camouflaged from the general public throughout history—in the modern day, this means disguising them as planes. Only a special few can form the kind of bond it takes to “pilot” these mythical beasties, however. Dragon pilots are always, and have always been, women only; and they have to be chosen by the dragon itself.
Lady pilot and dragon also have to be emotionally and mentally in sync, sort of like how you have to be “Drift Compatible” to co-pilot in Pacific Rim, except that the characters in Pacific Rim are not swallowed whole by their mech-partners at any point. To add to the physical strain, the rigorous training, and the daily ordeal of being eaten, these dragon-attuned women have one more vital code they must adhere to to retain their prestigious position: they cannot, under any circumstances, fall in love, because that will bust the entire system and they will no longer be able to fly. It’s just the way it is, and always has been.
So the dragon pilots are exclusively women, have a “warrior” status, a special connection to nature, and are forbidden from falling in love lest they lose their power. If this sounds familiar, it’s because Dragon Pilot is playing around with some very old ideas. Continue reading