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
Recently, my fourteen-year-old self knocked on my window in the dead of night and asked me to reconsider demon butlers. Or, rather, I went to watch Black Butler: Book of the Atlantic (a movie adaptation of one of the later arcs of the manga) in the cinema with a friend, where we were both promptly reminded why we’d loved this series so much as teenagers. The Black Butler manga is more than ten years old and still going strong, and the movie reeled me back into this world of supernatural action and Victorian Era finery with enough force and finesse that I was compelled to revisit the first few volumes of the manga—the “Jack the Ripper” arc, the storyline I remember being my favorite and starring my favorite pair of villains—and dive back into this story to see if it held up. Is it still good? Certainly. Is it also riddled with problems I’m much more wary of and attuned to now that I’m older and wiser? Absolutely.
Head to Lady Geek Girl and Friends for the full post!
Are we all still mad about Black Widow’s weirdly placed and (unintentionally?) offensive emotional revelation in Age of Ultron that she’s a monster because she can’t have children?
This has been up for discussion since the movie aired and is probably old news now in Internet Time, (there’s certainly been a lot written about it that is much better than anything I could say) but I think the issue surrounding it bears repeating or at least examining. Not just Natasha’s case, but the use of infertility as a tragically villainous trait, because it’s definitely something that keeps popping up. Among Orphan Black’s philosophical and allegorical dealings with female bodily autonomy and all that jazz, it’s revealed that one of the reasons why the decidedly domineering and villainous Rachel has such beef with Our Heroine Sarah is that she’s envious that Sarah and can have children and Rachel can’t. She also kidnaps Sarah’s daughter and is entirely ready to forcibly adopt her at the same time she’s got people about to harvest Sarah’s ovaries in the next room.
Like, whoa, girl. Calm down. Her infertility (part of her intelligent design in the cloning process) is not the only thing about her that concretes her as an antagonist, but it’s sure as hell part of her reasoning for doing what she does and being the way she is. While it might be unfair to say the narrative is implying that being biologically incapable of bearing children is a something that will turn you into a terrible person prone to physical and emotional torture… the implication, like Black Widow’s “monster” comment, is there. And it doesn’t seem quite fair. Continue reading
There’s always that one character that gets a barrel of fan hatred dumped on them. Always, without question. It’s one of those rule of the universe things (others include: if you drop toast it will always land spread side down and get covered in carpet fluff and cat hair, if your infallible washing machine that has worked for 20 years ever breaks down it will be when you desperately need it, and if it’s possible for a cat to do, there are at least ten videos of it on YouTube).
Upon inspection, however, I’ve begun to wonder what exactly it is that magnetises so much bitterness towards these fictional people, especially from the loudest demographic of most fandoms: the young adult female bloggers.
Let’s begin with the example of Sansa Stark of A Song of Ice and Fire/Game of Thrones. I have yet to delve into the intricacies of this series and its fandom but from the periphery (tumblr is a wonderful thing) I can see that there’s not a lot of love for her. In fact, she’s one of the least popular people in the series, and the subject of a lot of whinery, mostly centring around the fact that she is “whiny” “shallow” “useless” and “annoying”.
It’s because she’s ginger, isn’t it?
There’s just something infinitely interesting about evil.
Heroes are all well and good, but let’s face it, if they are merely heroes (and not anti-heroes existing in a story of skewed morality or reformed villains themselves) their one layer of goodie goodness can appear a bit flat. They may be the most lovable, honourable character to ever set foot upon a page, but that doesn’t make them intriguing. Also, the story will often be told either from their own perspective or centring around their workings. The bad guy looms on the edge as a menacing shadow. They’re a mystery.
And people love mysteries.
Like, why is this guy such an asshole? Was he/she made this way by some trauma of their childhood? Or is he/she merely inherently evil? What inspired them to want to take over the universe and/or cause the general unhappiness of other people? Or are they just an unthinking agent of chaos? Or perhaps an Eldritch Abomination?
Isn’t it intriguing how some things just become so ingrained in pop culture?
That is a rhetorical question. But consider this: there are probably virtually no people in the developed world that are unaware of the story of Alice’s Adventures in Wonderland. It’s come a long way from its origins on a river boat holiday in Victorian England—the story was created as a gift for the family friend of Charles Lutwidge Dodgson (pen name Lewis Carroll), a little girl named Alice Liddell, and is set in a fantasy land that showcases the need for logic in the world, and not (contrary to popular belief) a world whose author was on shrooms. It’s got surrealism, it’s got poems and songs, it’s got Victorian charm, and subtle satire that has long since faded out of recognition (but is explained in The Annotated Alice). Something about the nonsensical and upbeat dream story has stuck in our culture.
The characters and story are so ridiculously well-known, they’ve become an archetype of their own. They are instantly recognised and so new writers taking on the story can tweak it as they wish…