flyingskull (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
flyingskull) wrote2007-08-11 04:41 pm
flyingskull) wrote2007-08-11 04:41 pm
Disneyan Shallowness or the Trivialisation of the Bastard Hero
There's a thing that's been annoying me for a long time... Well, alright, there's lot of things that annoy me, I'm easily irritated, but now I want to talk about one particular attitude towards a particular type of character (in all media) that annoys me to the point of rage.
Unnecessarily Reforming the 'Decent' Bastard
If Henry Fielding were a contemporary author and he'd written Jonathan Wild last year, tons of readers would love and adore Jonathan and proclaim him a Good Hero, because the novel proclaims it every other page, you see, and if the author tells you persistently a character is a Hero Noble and Brave, then he must surely be. (There's another can of worms with female characters which I'll explore in another post, this is way too long as it is) A few, more critically inclined readers would get that he's a criminal with no redeeming features whatsoever, but they would be screamed at by legions of fen who'd consistently quote Wild's noble words about virtue as gospel and testament to his pure heart.
Yet, as we all know, Jonathan Wild is a political satire about 'Great Men' who gain power by cheating, stealing, murdering and conniving. The 'Great Man' is a hypocrite and all his words are lies. "Judge people by what they do," Fielding says, "not by what they say."
In other words, many contemporary readers, probably beaten down by the Politically Correctedness of our times, need authorial statements to know whom to admire and whom to despise in a story and when the above are lacking the only parameter they follow is the 'virtuousness' of their lines of dialogue. A Hero must say Noble and Kind words to everyone and, if sometimes he gets righteously angry as well he may, he'll express his contempt for his enemy or rival with scathing words of Noble Outrage (like 'you loser' or 'you coward').
Literature forbid we have a hero who's also a rude bastard, how can readers (yes, yes, a lot of them NOT all of them) resolve the confusion about the character?
Well, it's easy. Thanks to the Disney School of Good Feelings and Feeling Good, readers (NOT all of them, and this is the last time I specify it. Take it as said every time) either decide the Bastard is not a Hero, after all, or they decide that he isn't really saying all those rude and insulting snarky things. Jane Austen had a wonderful career based on readers' blindness to conflicting information, after all. Shallowness as an analysis tool prescribes that there is NO subtext, nothing is ever implied and actions are not important at all. What does it matter if character A saves the world, if he's rude about it? What does it matter if character B has deep and strong feelings for character C, if he never says it?
I'm not very clear, am I? Alright, on with the examples.
Diana Wynne Jones' Christopher Chant, the Chrestomanci, is an arrogant, selfish, vain, sarcastic bastard. He's also a sort of permanent saviour of worlds who has a deep respect for justice and all societal Good Things and a deep respect, affection and love for his wife, children and friends. Does he express his feelings with loving words? Not on your life, because he's also a deeply private person - a consequence of his isolated childhood and subsequent betrayal by his mentor - one who'd die before exposing his 'weaker' feelings to rejection and ridicule; one who hides behind sarcasm and rudeness because he really thinks most people are fools who won't understand anything but assurance and brusqueness.
That is a fully realised three dimensional character, obviously, but do some readers see him as worthy of being the Hero of a Series? They are shocked by his rudeness, to them it doesn't compute. Here's an example:
... Cat's secret dread was that one day he would be there, making polite conversation, and actually see one of Gabriel's lives as it went away. If he did, he knew he would scream.
The dread of this happening so haunted Cat that he could scarcely speak to Gabriel for watching and waiting for a life to leave. Gabriel de Witt told Chrestomanci that Cat was a strange, reserved boy. To which Chrestomanci answered "Really?" in his most sarcastic way.
"How can Christopher be so mean to Cat?" some say. "How can Christopher be so mean to Gabriel?" some other, more astute readers say. "It makes Christopher not so enjoyable as a protagonist and hero," both the factions say and run off to write fanfics in which he's the personified Milk of Human Kindness and Never But Never Says an Unkind Thing to Anyone (he also says 'I love you' a hell of a lot). We can't have kindness through deeds and unsaid respect for others now, can we?
Pterry's Vimes. Yes, I'm the Queen of Obvious and am a descendant of Monsieur de Lapalisse. Deal with it. Vimes is another Bastard. He's not the arrogant, vain bastard, but the raging, violent, sarcastic (all Bastards are sarcastic, after all, it's a mark of Intelligence), selfish - yes, selfish. He really is. Selflessness isn't a healthy thing. - Bastard with a capital B. You won't catch Vimes saying "I love you, fluffybunny" to Sybil because A) Pterry's too good a writer to mire himself in sentimental nonsense and B) even if Vimes says mushy things in private, which I can't believe, he'd never express his feelings in public. Because, say it with me, Bastards are intensely private persons, If they weren't, they wouldn't be Bastard Heroes, their Bastardiness - UGH, sorry, filthy neologism there - is in their words and attitude, NOT in their actions and feelings. And Vimes is SO near to being a villain, in a sense. He always has to reign himself in, to deny himself expression of his rage. It's not by chance that his greatest victory - in Night Watch, of course - is not killing Carcer. Vimes' societal values are solid and good, his societal mores (politeness, conformity) non-existent.
And yes, I've read fanfics in which Vimes was an abusive husband or lover and others in which he was soooooooo politically correct in Disneyan lovey-dovey that I don't know which nauseated me more.
And Murakami's Yuki Eiri (see icon). Because, if fen of good writers can be shockingly blind and/or stupid, they can't hold a candle to the sheer blindness and/or stupidity of a multitude of manga and anime fen. Give them a hell of a fascinating character who happens to be a Bastard of the broody, cold, violent, insulting and sarcastic persuasion whose past trauma (I'll post all about Murakami's Gravitation ASAP) assures that he'll never be able to express his feelings because - boring innit? - he's a VERY private person. Yet his societal values are solid... I'm repeating myself amn't I? And URGH! how he's treated by fen! Abusive, sadistic lover or mushy idiot because he has to be redeemed and reformed into a Disneyan image of goody-goodiness, if he is to be good.
Let's not even dwell on poor Draco Malfoy, what's been done to him makes me weep for humanity.
In conclusion, I suspect lots of fen are repulsed by intelligence, because if there's one thing that distinguishes the Bastard Hero from the Bastard Villain is exactly intelligence as in the OED definition:
The action or fact of mentally apprehending something; understanding, knowledge, cognizance, comprehension (of something)
Intelligence makes people appreciate and espouse the basic societal values of justice, respect of others' life and rights, it doesn't necessarily make people appreciate and espouse the societal mores of politeness and conformity. Intelligence is threatening because it tends to put in discussion established mores. Intelligence allied to passion is lethal for conformity, the desire to be what I call the 'invisible burgeois'. Intelligence plus passion plus impatience does a marvellous Bastard Hero make, my favourite kind of hero, by the way, but I suppose I've shouted that from the rooftops already. A certain kind of fan - they come not single soldiers but in BATTALIONS! - is shocked and put out by the Bastard Hero and they all frantically re-write him into a one-dimensional bland nothingness that negates the richness of the character and, incidentally, all the work the author put into creating him. But who cares about complexity when we can have Disneyan shallowness and everything in black-and-white simple stupidity?
Long live all Bastard Heroes and long may they continue insulting friend and enemy alike! They have my support, at least.
PS: I wanted to add Dunnett's Lymond, but I fear![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif)
mistful sarcasm, so I've refrained. :-D
Unnecessarily Reforming the 'Decent' Bastard
If Henry Fielding were a contemporary author and he'd written Jonathan Wild last year, tons of readers would love and adore Jonathan and proclaim him a Good Hero, because the novel proclaims it every other page, you see, and if the author tells you persistently a character is a Hero Noble and Brave, then he must surely be. (There's another can of worms with female characters which I'll explore in another post, this is way too long as it is) A few, more critically inclined readers would get that he's a criminal with no redeeming features whatsoever, but they would be screamed at by legions of fen who'd consistently quote Wild's noble words about virtue as gospel and testament to his pure heart.
Yet, as we all know, Jonathan Wild is a political satire about 'Great Men' who gain power by cheating, stealing, murdering and conniving. The 'Great Man' is a hypocrite and all his words are lies. "Judge people by what they do," Fielding says, "not by what they say."
In other words, many contemporary readers, probably beaten down by the Politically Correctedness of our times, need authorial statements to know whom to admire and whom to despise in a story and when the above are lacking the only parameter they follow is the 'virtuousness' of their lines of dialogue. A Hero must say Noble and Kind words to everyone and, if sometimes he gets righteously angry as well he may, he'll express his contempt for his enemy or rival with scathing words of Noble Outrage (like 'you loser' or 'you coward').
Literature forbid we have a hero who's also a rude bastard, how can readers (yes, yes, a lot of them NOT all of them) resolve the confusion about the character?
Well, it's easy. Thanks to the Disney School of Good Feelings and Feeling Good, readers (NOT all of them, and this is the last time I specify it. Take it as said every time) either decide the Bastard is not a Hero, after all, or they decide that he isn't really saying all those rude and insulting snarky things. Jane Austen had a wonderful career based on readers' blindness to conflicting information, after all. Shallowness as an analysis tool prescribes that there is NO subtext, nothing is ever implied and actions are not important at all. What does it matter if character A saves the world, if he's rude about it? What does it matter if character B has deep and strong feelings for character C, if he never says it?
I'm not very clear, am I? Alright, on with the examples.
Diana Wynne Jones' Christopher Chant, the Chrestomanci, is an arrogant, selfish, vain, sarcastic bastard. He's also a sort of permanent saviour of worlds who has a deep respect for justice and all societal Good Things and a deep respect, affection and love for his wife, children and friends. Does he express his feelings with loving words? Not on your life, because he's also a deeply private person - a consequence of his isolated childhood and subsequent betrayal by his mentor - one who'd die before exposing his 'weaker' feelings to rejection and ridicule; one who hides behind sarcasm and rudeness because he really thinks most people are fools who won't understand anything but assurance and brusqueness.
That is a fully realised three dimensional character, obviously, but do some readers see him as worthy of being the Hero of a Series? They are shocked by his rudeness, to them it doesn't compute. Here's an example:
... Cat's secret dread was that one day he would be there, making polite conversation, and actually see one of Gabriel's lives as it went away. If he did, he knew he would scream.
The dread of this happening so haunted Cat that he could scarcely speak to Gabriel for watching and waiting for a life to leave. Gabriel de Witt told Chrestomanci that Cat was a strange, reserved boy. To which Chrestomanci answered "Really?" in his most sarcastic way.
"How can Christopher be so mean to Cat?" some say. "How can Christopher be so mean to Gabriel?" some other, more astute readers say. "It makes Christopher not so enjoyable as a protagonist and hero," both the factions say and run off to write fanfics in which he's the personified Milk of Human Kindness and Never But Never Says an Unkind Thing to Anyone (he also says 'I love you' a hell of a lot). We can't have kindness through deeds and unsaid respect for others now, can we?
Pterry's Vimes. Yes, I'm the Queen of Obvious and am a descendant of Monsieur de Lapalisse. Deal with it. Vimes is another Bastard. He's not the arrogant, vain bastard, but the raging, violent, sarcastic (all Bastards are sarcastic, after all, it's a mark of Intelligence), selfish - yes, selfish. He really is. Selflessness isn't a healthy thing. - Bastard with a capital B. You won't catch Vimes saying "I love you, fluffybunny" to Sybil because A) Pterry's too good a writer to mire himself in sentimental nonsense and B) even if Vimes says mushy things in private, which I can't believe, he'd never express his feelings in public. Because, say it with me, Bastards are intensely private persons, If they weren't, they wouldn't be Bastard Heroes, their Bastardiness - UGH, sorry, filthy neologism there - is in their words and attitude, NOT in their actions and feelings. And Vimes is SO near to being a villain, in a sense. He always has to reign himself in, to deny himself expression of his rage. It's not by chance that his greatest victory - in Night Watch, of course - is not killing Carcer. Vimes' societal values are solid and good, his societal mores (politeness, conformity) non-existent.
And yes, I've read fanfics in which Vimes was an abusive husband or lover and others in which he was soooooooo politically correct in Disneyan lovey-dovey that I don't know which nauseated me more.
And Murakami's Yuki Eiri (see icon). Because, if fen of good writers can be shockingly blind and/or stupid, they can't hold a candle to the sheer blindness and/or stupidity of a multitude of manga and anime fen. Give them a hell of a fascinating character who happens to be a Bastard of the broody, cold, violent, insulting and sarcastic persuasion whose past trauma (I'll post all about Murakami's Gravitation ASAP) assures that he'll never be able to express his feelings because - boring innit? - he's a VERY private person. Yet his societal values are solid... I'm repeating myself amn't I? And URGH! how he's treated by fen! Abusive, sadistic lover or mushy idiot because he has to be redeemed and reformed into a Disneyan image of goody-goodiness, if he is to be good.
Let's not even dwell on poor Draco Malfoy, what's been done to him makes me weep for humanity.
In conclusion, I suspect lots of fen are repulsed by intelligence, because if there's one thing that distinguishes the Bastard Hero from the Bastard Villain is exactly intelligence as in the OED definition:
The action or fact of mentally apprehending something; understanding, knowledge, cognizance, comprehension (of something)
Intelligence makes people appreciate and espouse the basic societal values of justice, respect of others' life and rights, it doesn't necessarily make people appreciate and espouse the societal mores of politeness and conformity. Intelligence is threatening because it tends to put in discussion established mores. Intelligence allied to passion is lethal for conformity, the desire to be what I call the 'invisible burgeois'. Intelligence plus passion plus impatience does a marvellous Bastard Hero make, my favourite kind of hero, by the way, but I suppose I've shouted that from the rooftops already. A certain kind of fan - they come not single soldiers but in BATTALIONS! - is shocked and put out by the Bastard Hero and they all frantically re-write him into a one-dimensional bland nothingness that negates the richness of the character and, incidentally, all the work the author put into creating him. But who cares about complexity when we can have Disneyan shallowness and everything in black-and-white simple stupidity?
Long live all Bastard Heroes and long may they continue insulting friend and enemy alike! They have my support, at least.
PS: I wanted to add Dunnett's Lymond, but I fear
mistful sarcasm, so I've refrained. :-D
no subject
I see this with one of my favorite characters, Seto Kaiba from Yugioh. In the manga and the original anime, he has been the sole person responsible for his younger brother since childhood. In his fairly young life he has literally been abandoned, defrauded or in some way injured by almost every person he comes into contact with except his brother. Not surprisingly, he’s distrustful and wary of revealing anything of his thoughts or feelings because he believes that knowledge would be used against him.
Kaiba is impatient, angry, hyper-competitive, and pushes away anyone trying to have a civil conversation, and in fact struggles with the concepts of friendship and trust throughout the entire story. His manner is incredibly and irritatingly self-centered, but his actions are much less so. He refuses offers of a home to be able to care for his brother, Mokuba, and his life goal is to build amusement parks and games for to give children, particularly orphans, a better childhood than he had. These seem like two incompatible sides, but they really aren’t. But in fanfic, you often see him as either a totally evil character, or as melting into a pile of goo, neither of which to justice to what is a fairly complex character – which is I think my main objection – that often what happens is that characters who are interesting for their complexity get flattend into on-dimensionality.
I really liked your entry, and the Eiri one. This is funny – I thought your screen name looked familiar, I just realized we had a conversation about changing first person point of views and thoughts about readers. Ironically I found your journal just before going on vacation, but I’d like to add you to my friends list. I’ve really enjoyed reading what you have to say.
no subject
Do add me, I'll add you, and thank you.
Have a lovely vacation and, again, thank you for your kind words.
Undoubtedly Kaiba is another Bastard Hero, happily they're not so rare and yes, they are almost always dumbed down in fanfics, and not by teenaged writers only, as well.
There seems to be a sort of mental laziness in not wanting to think about what one reads (or watches), nowadays. Everything has to be spelled out in giant letters. I personally find Things Spelled Out in Giant Letters dead boring and I'd rather have to work with the book (of film, or whatever) than being fed predigested pap.
no subject
There seems to be a sort of mental laziness in not wanting to think about what one reads (or watches), nowadays.
I get asked a lot, “Which one is he?” as if someone could be have one motivation or feel one thing at a time.
The other thing that many people seem to have trouble with, especially in romances, is the idea of restraint. Oddly enough, I don’t mean this sexually. But one thing I’ve noticed is that often people expect one half of a pair to constantly rush in any time the other half has been insulted or is angry or trying to figure something out, rather than giving them the space to sort things out on their own, regardless of whether that character is at all likely to do that, or whether their partner would be at all likely to appreciate it.
Oh, BTW Anuthor’s Notes in anime are a fairly standard practice, but she uses them much more imaginatively than most, especially in her letting them fill in the background and margins of the frame itself, and the way she uses them almost as a bizarre counterpart to the story.
The other thing that struck me about mangas -- I'm not sure if you'd agree, is that unlike American comics, the manga-ka is much more likely to let the pictures tell a larger part of the story, to the point where wwith some of them, the words can at times be embellishment.
no subject
The other thing that many people seem to have trouble with, especially in romances, is the idea of restraint.
Oh God yes. To both. Makes me furious.
Personally I'd call what you call restraint 'respect'. I mean, given that there are a lot of perversions of love (and I don't mean sexual orientation or type and/or kinks etc.) like obsession, possession, destruction... y'know? But, apart from those, love is based on respect... alright, should be. If you respect and know someone you love, you don't go all macho posturing (women also can macho posture) every time something happens, it's actually a sign of deep and meaningful love to think that the beloved is actually able to take care of her/himself. In a story it would be a good pointer to the state of the 'not defending' partner.
Restraint during sex is another huge pointer to the state of a person's feeling for the partner, actually, and for the same reasons stated above.
Murakami is a Dadaist, I tell you. You're right, she uses the notes' space as a counterpart, or better, a counterpoint as if the whole thing is a symphony, which is not a bad analogy, actually. She also uses the remixes to deconstruct and gargoyle - I KNOW it's not a verb, but I can't find a more precise way of explaining my thought, forgive me - the characters, the story and the style. She's a truly amazing artist.
I'd say that the picture tell one story while the words tell another and those stories are not the story the style collision is telling, as well. Incredibly layered thing, is Gravi. I agree about American comics in general, but go read The Sandman and see how Gaiman and his artists manage the same complexity and effects (picture/words balanced imbalance). It can be done in any style when the creator has that kind of utter control on the medium used.