We continue our analysis of costuming on Game of Thrones, picking up on the heels of the last analytical piece, A Song of Pins and Needles – Beauty Battles Believability in Game of Thrones Costume Design for Margaery Tyrell Part 1. As we move forward looking at Margaery Tyrell’s (hereinafter “Marg’s”) outfits, keep these important definitions in mind:
Watsonian – The in-universe explanation, view, or analysis of an aspect of media
Doylist – The real-life explanation, view, or analysis of an aspect of media
These terms will be used throughout this analysis. A more detailed explanation of them can be found in Part 1.
In the last piece, we looked at Marg’s early costume issues, including her infamous funnel dress and her variety of sexy dresses. Now we turn to her two final iconic looks: Marg’s wedding dress for her marriage to Joffrey, and her new set of pilgrim dresses introduced in season 6.
And while it won’t be discussed in great detail here, shout-out to whoever designed the gold dress that Marg wears in this scene with Tommen. It is not only beautiful but also a logical progression into a more regal style for Marg based on her original style. It’s a dress I’d love to own, which might betray its anachronistic touch – but I’m willing to ignore that in this case so I can have at least one ray of sunshine in this cloudy landscape of strange fashion choices and illogical accessories.
So let’s jump on in to another round of A Song of Pins and Needles!
Marg Went to Kleinfeld!
Marg’s wedding dress from the Purple Wedding – the second wedding dress we ever see on screen, after Sansa’s (Talisa doesn’t have a special dress, she’s too busy being Empowered™) – presents a plethora of problems for an audience with any genuine concern for consistency or world-building. To break it down, let’s start first with a look at the dress itself as a garment.
I always found Marg’s wedding dress quite beautiful. I like the detail of the waterfall roses in the back, and I appreciate the work it took to not only make those roses (there must be hundreds) but also to embroider the back and bodice of the gown. I also like the detail of the leather thorns. I can see the connection between the physical thorns on the garment and Marg’s similarities to her grandmother, the Queen of Thorns. The design is a subtle hint that Marg is not as sweet as she appears, which is at least interesting.
I can also appreciate that this was likely a very difficult dress to construct. You can see the smoothness of the bodice and shoulder-area, which definitely required expert sewing skillz.
There are a few minor floofs – the back closure doesn’t exactly lie flat, and the length of the front of the skirt is questionable. Overall, the dress itself is an acceptable garment, and whether a viewer likes it void of any Game of Thrones (“GoT”) context is just a matter of opinion.
My opinion? I want this dress! I’d wear this to my own wedding in a heartbeat, albeit with different shoes and no cage hidden in my hair. But the fact that I, a modern-day woman in her twenties, want to wear this dress, and that it would be perfectly acceptable for me to wear it to my own wedding, reveals the innate problem with this design: it is anachronistic.
The gown has a modern silhouette, basically an A-line skirt with a short train, with a bodice that clings to the body. Now, this is a simple design, and we can’t claim the A-line skirt belongs to the modern world by any means. Indeed, there are a number of A-line dresses within the GoT universe that are not anachronistic in any way. The issue here comes from a modern fashion trend.
The dress has a modern look largely because of the cut-outs at the waist and large exposed back. Skin exposure like this was not common in the medieval era and, entirely avoiding the issue of comparing a fantasy world to real-life history, this style is absent elsewhere in Westeros. The closest thing we see is Marg’s own selection of sexy dresses. But the previous wedding dress we saw did not resemble Marg’s at all, nor do later wedding dresses that appear in the show. However, cut-outs and exposed backs are hugely popular in modern wedding dresses. Wedding designers use exposed backs to create drama. Marg’s dress looks much more modern, and therefore appears out-of-place in the GoT setting.
The anachronistic feel permeates both the Watsonian and Doylist analyses of this costume. The in-verse understanding and explanation of this dress starts on a shaky foundation because of that anachronism, while the Doylist may provide yet another example of the show’s general disregard for the source material. At this point, having reviewed multiple female costumes thus far in this series, we should be able to begin to piece together patterns (no pun intended) when it comes to design in the story. With Marg, it appears the pattern is that perceived beauty will always trump believability. We can discern this from the absent or tortured explanation of Marg’s dresses provided by the designers, along with the conflicting world-building that makes her outfit choices unlikely or impossible.
Watsonian: Marg is Not Like Other Girls
Watsonian analysis focuses on the in-verse explanation of why something exists. So, the audience must imagine the process it took to commission, design, and create a wedding dress for the future queen at her big fat royal wedding. First, consider the purpose of having such a large wedding and the role of a young queen.
Royalty of medieval times functioned a lot like politicians today. They had some power to enact laws and control the kingdom, but a large part of a royal’s job is to be a symbol of the monarchy that inspires and influences her people. Two modern-day examples are Michelle Obama and Kate Middleton. As First Lady, almost all of Michelle Obama’s power came from influencing the public through good works and appearances done in the public eye. She set an example for everyone to look up to, solidifying her family’s position as the First Family with political clout. Kate Middleton is in a similar position, albeit a more permanent one, and also does good works in the public eye to represent the kindness and strength of the monarchy. Politics is largely about appearance because a politician sets an example for her people.
The kicker is that we actually see this played out in the show, so at some point in time the writers were aware of it. Early on in Marg’s plot, just after she arrives in King’s Landing, she personally visits an orphanage to talk (read: spread propaganda) to the children about their fathers’ bravery on the Blackwater. She knows the small folk will see her there, and that act of kindness will influence them along with making them adore her. Marg even gets the smallfolk to like Joffrey for a time, as shown when the two appear on the steps outside Baelor’s Sept together and the crowd cheers. Season three Marg seemed to understand her role as an example to the people and a representation of the new monarchy.
So where does the wedding dress from Kleinfeld come in? Here’s the basic problem with the dress (disregarding the anachronism): it’s too plain. We are talking about the most extravagant wedding of the century here! They had seventy-seven courses planned for the feast! Thousands of people attended, and all the smallfolk of King’s Landing cared about and paid attention to this ceremony. Think about how batshit people went over Kate Middleton’s wedding dress, or even Princess Diana’s dress back in the day – and those dresses were fashionably on-point (for their era) and made of expensive fabrics, like silk. Marg is rolling around in a linen-silk blend cut in an unknown, not-popular style. This dress should have been extravagant.
Even Sansa’s wedding dress was more queenly than Marg’s. Take a look at the hand-beaded embroidery happening here, and the beautiful brocade fabric!
The only Watsonian explanation is that Marg completely dispensed with her known purpose at the wedding – to look like the new queen for the audience – and decided to YOLO in a dress I guess she liked? I don’t think it’s possible for Marg, having acted how she did and having been present for Sansa’s marriage, to have thought this dress was appropriately queenly. And if this was meant to be another “experiment” or a statement piece, it was executed at a HIGHLY inappropriate time (a royal wedding?!) and it clearly didn’t make an impact, as we never see any dresses like it again.
Finally, while the Watsonian explanation is lacking (I really can’t think of any other reason that makes any sense), I do like to imagine that someone in-verse put thorns on this dress in a symbolic way. It could have been the city’s most meta seamstress, maybe the same that made the Bjork dress. But my personal headcannon is that Marg herself added the thorns, giggling as she picked them out from the bead section at A.C. Moore, saying to Megga, “Now I’ll really be a thorn in Cersei’s side!”
Doylist: Just Look at the Flowers
Based on the Watsonian analysis, I think it’s a somewhat fruitless effort to compare the show’s wedding dress with the description from the books. It’s clear to me that Michelle Clapton’s driving motivation in designing this garment was just for it to be a beautiful wedding dress. The only tie it has to the GoT universe at all is the presence of roses as the symbol of House Tyrell, and otherwise the style does not make any sense in the context. But for consistency sake, let’s look at the book description.
“The bride was lovely in ivory silk and Myrish lace, her skirts decorated with floral patterns picked out in seed pearls. As Renly’s widow, she might have worn the Baratheon colors, gold and black, yet she came to them a Tyrell, in a maiden’s cloak made of a hundred cloth-of-gold roses sewn to green velvet.” – A Storm of Swords
Book!Margaery clearly chose her wedding dress with care, making sure to appear in the colors of her house with not a hint of her former marriage. This is a major part of Margaery’s ability to marry Joffrey, and remains part of her public persona in the books when she marries Tommen – that she is a maiden according to Westerosi standards, and therefore able to marry royalty. This certainly could not have been the goal of show!Marg’s dress choice, since it is significantly more revealing than other dresses we have seen on screen.
In addition, the book version is clearly more exquisite. The fabrics themselves are of higher quality, specifically silk, a very rich fabric, and “Myrish lace”, which is made expensive by the fantasy universe since the lace comes from across the Narrow Sea. The image of the entire skirt being designed in seed pearls is spectacular – seed pearls are very small, and would require thousands to be sewn on individually to create a skirt-covering pattern. The hundreds of cloth-of-gold roses, too, would have to be individually hand-made and sewn onto a draping velvet cloak. Damn I wish there was a visual adaptation of this novel!
The decision to alter this design baffles me. If this were any other show, I might be able to explain away some of the issues. For instance, a floral design “picked out in seed pearls” may not show up well on screen, since seed pearls are like small beads. But then instead we got tiny chains and tiny thorns all gathered around the middle of the bodice, which also did not show up well on screen! And there are countless examples of hand-beading that must have taken hours that is barely visible. And then of course there’s the six hundred masks issue. If this were any other show, I might say that making hundreds of roses by hand to put on a costume would be too much labor, but then we literally get exactly that in a way that is less dramatic and less beautiful (and less symbolic, since gold is a Tyrell color and mottled grey is not).
There is no logical reason to change this design, which seems to be a running pattern for a lot of these costumes. Clapton basically made a sexier, more dramatic version of Marg’s earlier series of sexy dresses, lightened the color a bit and called it a wedding dress. We know this for a fact because she told us. When asked about her inspiration for the dress, Clapton said:
“Really just a play on her sigil and following the style that she has developed since her arrival at King’s Landing. It had to be very different from Cersei’s style and taste.” – Michele Clapton
We know the costume design wasn’t deeply thought-out here, based on Clapton’s own words. And at a certain point, that’s fine – sometimes a pretty dress is just a pretty dress. The impetus to make Marg’s style markedly different from Cersei’s probably comes from D&D, who set Marg up as the scheming sexual manipulator who must always be working to undermine poor put-upon Cersei.
It appears the design of this wedding dress is just another key-jingling moment for the show, getting the audience excited by making them look at the flowers on that gosh darn pretty dress! At the end of the day, there isn’t a complex Doylist explanation, and the whole thing comes up to a kawaii shrug.
It should be noted that I did got back and re-watch the crowd scenes of the Purple Wedding, and there are in fact extras wearing some of Marg’s series of sexy dresses with large cut-outs and exposed backs. This just begs the question yet again – what’s the temperature in King’s Landing??
The City’s Most Meta Metalworker
“The idea of the briar rose is continued into the crown where it wraps around the Baratheon antlers [Joffrey’s sigil]. This was to show her creeping influence, which is not lost on Cersei.” – Michele Clapton
Both Joffrey’s and Marg’s crowns display this motif of rose vines intertwining with stag antlers. As Clapton explains above, the point is to show the “creeping influence” of the Tyrells over the Baratheons/Lannisters. When I first discovered this, I thought it was an interesting detail.
But then I thought: who made this??
Looking at the in-verse explanation, I must know what goldsmith made these two crowns. Did the goldsmith design the crowns himself? Did he sit there thinking, “Yes, I’ll express my concerns about the encroaching influence of the Tyrell family on our glorious monarchy by crafting briar roses creeping between the stag antlers, so everyone knows the king is truly under the control of these upjumped servants”? I assume by now Marg must be followed by a tail of meta designers who all attended the School of Taking-Things-From-the-Source-Material-Way-Too-Literally. Oh, and also one Bjork fan.
There’s also the option that the Tyrells designed these crowns themselves. I can imagine the Queen of Thorns sketching out a design and showing it to Marg, while Marg shows off the badass thorn beads she picked up from A.C. Moore earlier. Maybe the Tyrell ladies just have so much fun tormenting and scheming against poor Cersei they just couldn’t help but make the crowns symbolic of their attempt to take over the monarchy. Crowns worn at a wedding where they planned to assassinate the king. Yeah. Sounds right.
We know Marg couldn’t have designed the crowns alone. She’s just not that good a sketch artist.
This is a fine example of a cool-sounding Doylist explanation, but a completely absent Watsonian one. The neat thing about symbolism and metaphor in literature is that it happens in a way that is natural in the story and isn’t terribly contrived. For example, in A Game of Thrones the book, the direwolf found dead with the stag’s antler in its throat is symbolic, foreshadowing with its symbolism the fall of House Stark at the hands of the Baratheons. But it also makes sense – stags and direwolves would fight in nature. It would be weird and contrived if, say, the characters had come across a large dead squid in the middle of the woods near Winterfell, its tentacles wrapped around a dead direwolf. The symbolism would be about the same, but the quality of the story and its believability is lost.
The crown idea was neat, but without a Watsonian reasoning, it is useless. Again we see a cool idea poorly executed, ending up in nothing useful.
Though I would love to meet the meta designers. Maybe they went to the art school near Talisa’s nursing college.
A Pilgrimage to Nowhere
Going into season six, GoT lost Michele Clapton (seven save us!) and gained a new lead designer, April Ferry. By this point the show’s writing and plot was completely off the rails, and it shows in the last few costumes designed for Marg. I’ll be referring to the last two outfits as the “Pilgrim dresses,” since they look like a fantasy version of what Pilgrims wore. Their creation undoubtedly stemmed from D&D’s disregard for and misunderstanding of the source material, so let’s recap a bit on that first.
The Faith of the Seven is NOT Christianity
Regardless of how D&D characterize it, the Faith of the Seven is not, in fact, a fantasy-version of Christianity. The Seven does not contemplate original sin. It does not hate gays. And it does not, importantly, abhor all sex. Instead, the Faith of the Seven as worshiped in Westeros is a projection of their toxically patriarchal society, and simultaneously reinforces that patriarchy through the seven “aspects” of the gods.
In brief, a toxic patriarchy is when certain roles are allowed for people based on their sex and social class, and that proscription is so strong that it limits people’s freedom and dictates their lives. Patriarchy brain, as discussed on the Unabashed Book Snobbery podcast in great detail, is when people living in such a society internalize those limitations in one way or another. The seven gods worshiped in Westeros are both a projection of patriarchy brain and a mode to reinforce the toxic patriarchy. We have:
The Warrior – Male, strong, meant to protect
The Maiden – Female, graceful, beautiful, virginal
The Smith – Male, strong, makes weapons and tools for men, the “hard worker”
The Mother – Female, loving, caring, meant to bear children, NOT virginal and embraced for not being virginal (sex is required for motherhood in Westeros)
The Father – Male, meant to protect, head of the household
The Crone – Female, old, useful for her wisdom and her ability to guide you
The Stranger – gender unknown, representation of death
Through these seven figures, this religion delegates everyone in Westeros to a specific archetype. Acceptable roles for women include maidenhood, motherhood, and old age; acceptable roles for men include knighthood, fatherhood, or as a skilled laborer; and both genders ultimately bow to death. The societal organization of people into simplified categories is a reflection and tool of a toxic patriarchy.
Note that, in this system, it is the characteristics of the aspect that applies to a person that matters when determining their social acceptability. A man can, for example, be a gay knight. Indeed, the seven most revered knights in the kingdom are specifically required to be chaste, limiting their ability to be fathers. Knighthood is premised on chivalry, not sexuality. An old woman can speak her mind more freely than a young woman, since she is used for her wisdom, not her virginity or reproductive capabilities. A married woman is encouraged to have sex with her husband to fulfill her role as a mother, while an unmarried maiden is pressured to remain abstinent. There isn’t a single set of rules applied to everyone across the board – the Faith of the Seven allows for different standards depending on the role a person fills in society.
Based on what we’re given from the show, it’s clear that D&D do not understand the Seven. We are shown a religion that abhors homosexuality, degrades women’s bodies, is against drinking alcohol, and, through the multitude of High Septon speeches, seems to have a concept of original sin. The show!faith also denigrates wealth and the material things that come with wealth, even though it exists in a feudal society built on stable class distinctions. Basically, show!faith is trying to be Christianity – or more accurately, a version of Christianity crafted without actually knowing much about it. D&D just picked the “Christian” issues that are hot-button in the modern world: gays and wealth, and a little bit of sex.
This fundamental misunderstanding of Westeros’s main religion seeps into the costume design for Marg in season six. I think it can go without saying that these dresses are ugly, only coming out as Marg’s second-worst outfits because of the Bjork dress (at least the pilgrim outfits aren’t cones). Some of the fabric is nice, but none of it is brocade, so I’m not about to fangirl over here.
Let’s take it one step at a time and consider the Watsonian explanation for Marg’s pilgrim dresses.
Watsonian: The Best Septa Cosplay in the Seven Kingdoms
Marg comes to wear the first of the two mournful pilgrim dresses after she is released on holy bail from the Great Sept of Baelor, awaiting her trial for perjury. You read that sentence right – her trial for perjury. For the reigning queen to get out of jail pre-trial on her perjury charge, she must start dressing like a pilgrim and be followed around everywhere by a septa. The logic here seems to be that, to show she is pious and virtuous, she dresses in a less revealing way (in comparison to her series of sexy dresses). This might make sense if her charge had anything to do with her virtue or virginity, or if her sexual life was called into question at all, since that is high treason. But that is not the case – Marg is only charged with lying about her brother’s homosexuality, a charge that has nothing to do with her own sexuality. The new costume choice having a sexual origin doesn’t seem to hold water.
Additionally, the other character awaiting trial – a trial that is about adultery and fornication – is Cersei Lannister. Cersei is still given free reign to roam around the Red Keep in her regular old wrap dresses, no high-necklines to be seen. Indeed, the only other character wearing anything similar to Marg is the septa following her, loving known here at The Fandomentals as Septa Spoonella. Perhaps Marg’s goal is to appear pious by dressing like a septa. This is actually a compelling honeypot, especially given the High Sparrow’s multiple long monologues about how wealth is bad and shoes are awful.
But this reasoning falls apart under scrutiny. If Marg wanted to dress like a septa to be pious, why not go full-out and get a septa costume? Marg is still wearing a dress made of nicer material than a septa. She’s still wearing her golden crown. She still has her hair perfectly done, probably by all of her serving ladies. She also still lives in the most important castle in the Seven Kingdoms. Even the pilgrim dress she wears to her trial, when she is in the Great Sept of Baelor, is way fancier than what a poor smallfolk could afford.
If the point is that simpleness is pious and wealth is sinful, Marg isn’t actually doing that good a job of putting on those pious airs. Maybe this is why the narrative decides to literally blow everyone up – because of their continuing sinful behavior!
Really, there is no good Watsonian explanation for Marg’s transformation into slightly fancy potato sacks. There is no precedent for it – the other queen awaiting trial isn’t wearing this shit. There’s no demand for it – Marg isn’t awaiting trial on anything sexy. Finally, there’s no need for it – the faith of the seven demands piety and purity, but not virginity for a queen who is proscribed in the role of a mother. Indeed, the High Sparrow himself tells Marg she needs to start gettin’ sexy with Tommen to make an heir!
With no stable explanation from the Watsonian perspective – even considering it from the warped view of the faith as Christianity that D&D employ – we should move on to the Doylist lens.
Doylist: D&D are So Brave™
I think the Doylist reasoning behind these costume designs is pretty clear: D&D think the faith of the seven is Christianity, and the costume designers went with that. The costume department was told “Marg needs to be more religious” and the reaction was to cover her body. There are two main problems here: the first is that this was the reaction at all; the second was that this reaction was employed in this fantasy setting.
First, the fact that the new design team, April & Co., or maybe D&D as well, decided the only way for Marg to show her newfound piety was to forcibly cover her is a problematic view of modern religious women. Piety and piousness are not innately connected to a woman’s sexuality, especially considering the hundreds of religions that exist and have existed in human history. The emphasis on sexuality is Abrahamic and western, and different for many other religions (*cough* including the Faith of the Seven *cough*). Additionally, plenty of religions include forms of covering for both men and women that are free and part of the faith. The fact of the matter is that religions, and forms of worship within those religions, are highly diverse. And the representation of that diversity in media reflects the intentions and opinions of the creators.
That this was the design route the show took reveals a western, negative outlook on religious covering, since Marg was forced into these outfits by the High Sparrow. The only other women dressed the same are the septas, who tortured multiple people and hold Marg hostage, and Cersei’s final outfit which she dons as she blows up the sept:
This has some unfortunate implications on the creator’s understanding and vision of religion, since the only similar designs adorn bad people. And we know this can’t be just a result of the confines of the universe – as discussed above, there is no Watsonian basis for this costume choice. This is another piece of the larger pattern that D&D, bleeding also into the costume department, have an agenda against portraying religion in a positive light.
The second issue, largely addressed above, is that the designers would bother trying to pass off these glorified potato sacks as costumes in this setting. Nothing about them makes any sense, and the deviation from the source material makes the show’s story worse, not better. The show dug itself into a massive grave by aging Tommen up so they could make exactly two sex jokes, even bringing down the costume department with it. This is a prime example of how the entire production is dependent on the tone set by D&D, and how the patterns of sexism, racism, homophobia, and others in their writing does permeate the whole show.
Conclusion: A Rose by Any Other Name..is probably dead from the sept explosion.
Coming to the end of our two-part analysis of Marg’s dresses from season two to season six, I think we can pick out some clear patterns. The overall pattern is that believability will always give way to perceived beauty. Marg’s “experiment” dress was high-fashion and couture in Clapton’s eyes; her series of sexy dresses were pretty and flowy, though out of place; her wedding dress was beautifully anachronistic; even her pilgrim dresses were made of nice fabrics and adorned with a golden crown, though she was trying to not be so darn rich!
Marg’s costumes also add to known patterns regarding storytelling devices. First, her costumes solidify her as the scheming, sexual manipulator of all men. Second, subtle details in her wedding dress and in the royal crowns place her purposefully opposite Cersei, adding to the “scheming” Marg does. Third, her pilgrim dresses compliment the woeful misunderstanding D&D have of the Faith of the Seven.
At the beginning of this two-part analysis, I emphasized that a good costume strikes the right balance between in-verse believability and real life expectations while also functioning in its role. Overall, I do believe Marg’s costumes functioned in their various roles as much as can be expected. My problems lie not with how the costumes function, but rather with the situations the costumes must function in. It’s not the designer’s problem that Marg is scripted as a sexual manipulator and that the costume design must follow that path. The intersection of writing and design makes it difficult to judge a costume as a stand-alone piece.
Through the art of costuming, the show emphasizes some of its greatest flaws: its internal inconsistency, its general illogic, and its plethora of meta-designers expressing their concerns about the monarchy through clever goldsmithing. This is simply not the world George R.R. Martin envisioned, and the costuming, while sometimes very impressive, is just not helping matters.
Let’s all take a moment and reflect on the one lovely costume in season six, which graced our screens for a few minutes.
Moving on from our looks at Dany and Marg, we will move on next time to a close critical analysis of “Sansa Stark”.
Images courtesy of HBO
Brimstone Is More Grimdark Nonsense Posing As Feminist Empowerment
Content warning: article contains discussions of incest, sadism, and torture porn. Spoiler warning for the movie Brimstone.
Brimstone is the latest victim of the Grimdark plague afflicting too many narratives nowadays. To the point that I’ve started accidentally calling the movie “Grimstone” or “Brimdark”. Dakota Fanning is convincing in the lead role of a traumatized, hunted survivor, but no amount of good acting can redeem such an unpleasant, painfully long (nearly 2.5 hours) and pointlessly sadistic ordeal. Not even Kit Harington’s somewhat brief appearance and sad puppy face is worth it.
The Road to Hell is Paved with Faux-Feminist Tales of Empowerment™
For some reason that still escapes me, the Political Film Society (whatever that is) has nominated Brimstone as “best film on human rights of 2017”. They have praised director-screenwriter Martin Koolhoven for daring to expose the “extreme debasement of women” in a the mid-19th century American West, while making a jaw-dropping political comment,
“Another theme is the depiction of the American West as lawless, hinting that within American culture there is an extraordinary macho strain that continues in family life and politics, what Theodore Adorno called the ‘authoritarian personality,’ which maintains strict discipline at home and votes for those who appear strong enough to break the rules to get things done. Brimstone was released at a time when filmviewers may find resonance in the story with the rise of Donald Trump to the presidency.”
Sure, it’s easy to connect “the rise of Donald Trump” to misogyny (it’s also lazy and simplistic). The problem is that Brimstone is not actually exposing or denouncing it; it’s actively participating in constructing it. Depicting the “extreme debasement of women” (the wording used by the Political Film Society should already give you a clue) in an exploitive, pornified, Grimdark framework reminiscent of Justine, or the Misfortunes of Virtue is not the way to bring attention to misogyny, rape culture, or violence against women. It brings us back to the old debate of Depiction vs. Endorsement which is actually way older than we might think.
Before diving headfirst into the disturbing, depressing universe of Brimstone, I propose a short trip into the historical origins of the Grimdark subgenre. This topic deserves its own piece, which will be fully fleshed out in the future, but let’s start with a quick overview.
Gothic vs. Grimdark and the Sadean Narrative
Unlike David Benioff and Dan Weiss (D&D), the infamous (around here) showrunners of Game of Thrones, Brimstone director Martin Koolhoven at least never pretended he was writing a Dramatically Satisfying™ “Gothic Horror,” though it does contain similar tropes. Indeed, it’s hard not to compare the two. So much so I had to pause while watching Brimstone to check if they shared a screenwriter or ‘creative genius’ in common rather than just Kit Harington and Carice van Houten (they don’t seem to).
As a historian of the French Revolution and the 18th century, it’s also difficult not to see the similarities between the Grimdark narrative to which Benioff, Weiss, and Koolhoven subscribe and Sade’s Justine, or the Misfortunes of Virtue. Especially when the former attempt to root their stories in “historical accuracy” or “historical realism.”
Some of the main themes of the Gothic genre are impossible to separate from the historical era in which it originates. Like most fiction, the eternal battle between Good and Evil is at the forefront. In this case, the concepts most commonly used during the period were those of Virtue and Vice, in which the Apostles of Vice try to tempt, lure or corrupt the Champions of Virtue.
Gothic fiction is further characterized by decay and corruption, which parallel that of the Ancien Régime itself. The old protectors (nobility) and moral guardians (clergy) were the institutions that used to champion Virtue. However, by the 18th century, they are increasingly failing in their duties; they were no longer capable of playing and fulfilling their roles, or deliberately stood against them, leading to the rise of new “Champions of Virtue.” These new heroes will define the 19th century with new struggles. In this period, the revolutionary acts as a substitute for the fallen figure of the “Knight in Shining Armor” and “Protector of the Innocent.”
As a moral and political critique of the Ancien Régime, Gothic fiction shares much in common with epistolary novels of that century, but they both differ from Sade in significant ways. Most importantly, in the former Virtue ultimately triumphs. Sure, it won’t get out of the fight unscathed. Its champion will lose their innocence; they might fall from grace, they may even die, often by sacrificing themselves, but what they represent will endure.
The same holds true of contemporary Gothic fiction. Even the Hannibal series, which seemingly showcases a perfect Sadean villain (he even plays the harpsichord, come on!), is not Sadean itself. Despite the temptation, corruption, and fall of the hero, Virtue still prevails and triumphs (beautifully, I must say).
As “Love Crime” (the song playing during this moment) says it best, the characters embodying this thematic struggle play an ageless “deadly game”, on which depends the meaning not just of good and evil, but of life and humanity.
This narrative, however, bores a certain type of people who long to see ‘the villains win for a change’, who wish the world was shown as it ‘truly, realistically, accurately is’—from their point of view—in all its gritty darkness and villainy. One of these was the Marquis de Sade (that’s the first and last time I will dignify him of his title and particle).
Over the course of his career, Sade brought forward arguments extremely similar to the usual apologetic discourse excusing the Grimdark turn in storytelling. Like history as the true source of atrocities and the necessity to depict evil in the most horrifying (and graphic) ways to make sure that evil is understood and loathed as such.
In the preface to his 1791 edition of Justine, he bragged about his “originality” in inserting a plot twist that had “undoubtedly” never been done before: letting the villains win and rewarding them in the narrative while the Champions of Virtue remain forever miserable and meet atrocity after atrocity.
“The scheme of this novel (less a novel than one might suppose) is undoubtedly new; the victory gained by Virtue over Vice, the rewarding of good, the punishment of evil, such is the usual scheme in every other work of this type: shouldn’t we be tired of such a hackneyed lesson!”
In other words, it’s boring when the Good Guys win, especially if they don’t face horrific circumstances to make us appreciate their (seemingly vain) struggle.
The 1791 edition pretended to be a moralistic cautionary tale—and a “most sublime” one at that, as he praises it himself—destined to make people, especially women, “love Virtue more” by making her champion “suffer beautifully and sublimely.” Sade’s 1799 re-edition (La Nouvelle Justine) featured even more exploitation, more torture, more rape, and more murder. His intentions had taken a much darker turn.
By 1799, his sarcastic praise of Virtue had vanished. Virtue is now a “ridiculous idol” worshiped by “imbeciles” who fail to realize they will never be rewarded for their good deeds. It’s better to “abandon oneself to Vice than to resist it,” because “Virtue is too weak to fight against Vice” and choosing her side is a sure way to lose. For these reasons, he proclaims he must “courageously dare” to depict crime as it is, “that is, always triumphant and sublime, always happy and fortunate”, while virtue is “always dour and always sad, always pedantic and always miserable.”
Sade was also a troll, both in history and literature. On July 3, 1789, when tensions were already high, he screamed from his cell in the Bastille that prisoners were being butchered and that people needed to come and free him. (It wasn’t true – and the revolutionaries who later stormed the prison were disappointed to find out there were only seven prisoners inside). He also trolled the philosophical themes of the Enlightenment and the Revolutionary politics, parodying them, twisting them, and pushing them to absurd limits.
Sade weaponized irony and ambiguity in a way that wouldn’t seem out of place on 4chan (coughs). His prose is nauseating, yet inevitably boring. Even in the 18th century Shock and Awe™ got old pretty fast. His style ripped off other pornographic novels of the century, like Thérèse Philosophe (1748), in which porn was intercut with philosophical ramblings. Only for Sade, his blandly described, repetitive “porn” was made of rape, abuse, torture, and murder, while the “philosophy” provided “natural” justifications for these.
In short, Sade created his own Grimdark “satire” of Gothic horror in which he corrupted the roles of the main characters. The protagonist/Champion of Virtue, often an Ingénue (usually female but sometimes male), becomes a Doom Magnet bringing death and disaster everywhere they go. The calamities that befall the protagonist extend to every good person who has the misfortune to cross their path, befriend them, or want to help them. Nothing can save them, not even Providence/God is on their side. Their belief in goodness, honor, and virtuous principles is mocked, and they are punished for holding onto them.
Meanwhile the villain who, as in Gothic fiction, is often a Depraved Aristocrat or a Corrupt Priest or Nun becomes an overpowered Villain Sue, deflects karma, and is rewarded for understanding the ‘truth’ about ‘human nature’. This is the Sadean Narrative.
Sade’s excuses and defenses are the same as D&D’s: invoking historical accuracy, realism, human nature, ‘how things really are or were’, etc. But that’s bullshit. It’s a construction. As much as they pride themselves in showing the so-called truth of human nature, Grimdark writers and their apologists neglect whole parts of it, omit them, erase them in order to create, as Adam Roberts puts it, a cynical, nihilistic, ultraviolent world “where nobody is honorable and Might is Right”.
The same can be said of Martin Koolhoven’s Brimstone.
Brimstone, or the Misfortunes of Virtue
This 149 minute long movie is divided in four chapters: “Revelation,” “Exodus,” “Genesis,” and “Retribution”. The second and third chapters are out-of-order flashbacks explaining how we got here while the last chapter resumes where we left off in the first.
In the first chapter, we meet Liz (Dakota Fanning), who’s mute. She works as the town’s midwife. She’s happily married with two kids, a stepson and a daughter. Everything is going mostly well. However, her past catches up on her when she meets the town’s new reverend. As we’ll later learn, Liz’s real name is Joanna, and the new reverend she’s terrified of isn’t just a sadistic, hypocritical asshole who’s been chasing her for a while, he’s also her incestuous father. The main purpose of the nonlinear narrative serves to conceal this plot twist (somewhat predictable when you know the genre though YMMV).
The chronological beginning of the story is in “Genesis”, in which young Joanna (Emilia Jones) is 13 years old. On the night Joanna menstruates for the first time, she finds her father, the Evil Reverend (Guy Pearce), whipping her mother, Anna (Carice van Houten), in the barn for not putting out. It’s filmed in a voyeuristic, creepy way that hides behind the excuse of “exposing violence against women” to showcase torture porn. This is one of the many pointlessly graphic whipping scenes featured in the movie, another of which involves a child actress who was less than ten years old at the time of filming (Ivy George, who plays Sam, Joanna/Liz’s daughter).
Anna finds out her husband is creeping on their daughter, because “now she’s a woman” and her mother is not fulfilling “her wifely duties.” Presumably to stop her from telling everyone (I assume because it’s never explained), the Evil Reverend gets her a scold’s bridle. It’s ridiculous but hey, it does provide great imagery for the trailer and for the reviews to denounce the “extreme debasement of women.”
It doesn’t get any better from there on out.
Goodness Gets You Killed
Get used to this basic rule when watching the movie: each nice person dies horribly. Because goodness gets you killed. Because it’s written that way.
- Anna, Joanna’s mother who could have protected her – hangs herself.
- Johnny Sand, who tried to save her – shot with his own gun (through the Reverend).
- Nice Sex Worker Sally – hanged for murder.
- Random Mourning Father – shot in a rigged duel he could never have won.
- Nice Friend Elizabeth – stabbed with her own knife (through the Reverend).
- Nice Husband Eli – disemboweled (by the Reverend).
- Protective Teenage Stepson Matthew who tried his best to protect his Stepmom and Half-Sister – shot (by the Reverend).
- Nice Husband’s Father (and Mathew and Sam’s Grandpa) who was helping Joanna and Sam by hiding them – impaled to a door (by the Reverend).
The anvil needs to be dropped about what kind of world Justine, I mean, Joanna, lives in. It’s a Crapsack World from which there is no escape, as the rest of the movie will painfully remind Joanna (and the viewer) each time a spark of hope shines through.
Soon after the Evil Reverend gets the scold’s bridle for his wife, for example, Joanna asks her mother why she lets him treat her that way, and that she would rather die than live like that. This scene leads directly to Anna wandering off and immediately hanging herself right there in the church while her husband is preaching about how evil women are. Awkward. One of the few (maybe even only) people who could have protected Joanna is now dead.
Similarly, the whole subplot involving Kit Harington is ultimately insignificant and only serves to reinforce the lesson that good deeds will lead you to your grave. He’s a Thief With a Heart of Gold who wanders onto the Evil Reverend’s ranch, and Joanna hides him in the barn until he recovers from his wounds. He’s a Good Guy; he turns her down when she reluctantly offers herself to him. Johnny Sand (let’s just call him that) is the only one to oppose the Evil Reverend when he decides to marry his own daughter. He’s even all backlit with glorious sunlight, like a Prince Charming finally showing up!
Just as he’s about to shoot the Evil Reverend, he somehow loses grasp on his own gun —SOMEHOW—and the Reverend shoots him instead. Bye Johnny Sand. You tried. You just couldn’t win in this kind of narrative.
After her “wedding” to her father, Joanna runs away to the desert, where she faints, is found, and is ultimately sold to a brothel, Frank’s Inferno. Most of the women she meets are Mean and Catty and mock the 13 year-old child, except for one Nice Sex Worker named Sally who protects the last shreds of Joanna’s innocence. Needless to say, she meets a dire end; she’s hanged by the sheriff for murdering a man who wanted to rape Joanna. Even though she was just defending herself, as Joanna tearfully insists, Frank reminds her “there are rules,” and Sally knew not to defy them.
Several years later, the now grown-up Joanna (played by Dakota Fanning) witnesses a duel between Frank and a mourning father, who blames the former for his daughter’s death and demands a “fair fight.” Joanna, her friend Elizabeth, and all the other women working at Frank’s Inferno cheer for this unnamed man, an unlikely Champion of Virtue in this Crapsack World. He symbolizes The Good Father None Of Those Women Presumably Had:
“It’s men like you, who think their actions have no consequences, who are making this country turn into what it’s turning to. So, for my daughter’s sake, for every daughter’s sake, I have to kill you.”
Much like Johnny Sand earlier, he dies. The duel was rigged anyway so he could never have won. Cue the sad faces of the women who needed another reminder of the world they live in.
But one of the most over-the-top example of this disturbing ‘theme’ is the murder of Joanna/Liz’s stepson, probably punished because he wanted to become a nice person someday. The scene is utterly ridiculous. There’s a blizzard, you can’t see a thing, and yet the Evil Reverend manages to shoot the kid? Who only got out of the wagon because he accidentally dropped his own riffle? Why did any of this have to happen? Because it provides great imagery, I guess.
So, to recap: Joanna/Liz’s life sucks. Anybody who tries to save her, protect her, rescue her, or cares about her dies violently. Narrative Acedia strikes again.
The only decent person who makes it out alive is the doctor who refuses to cut out Joanna’s tongue when she comes up with the illogical plan of taking Elizabeth’s place.
Meanwhile, the Evil Reverend is near unkillable. Cut his throat and let him to drown in his own blood in a room you set on fire? He survives that! (The movie never really explains how, nor stops to ponder how impossible this would be even with the best medical care the 19th century could offer.) Set him on fire? He feels nothing apparently, he even seems to embrace it, either because he made a pact with the devil (which I would be willing to accept at this point) or because he’s a Secret Targ. Who the hell knows? Well, Hell might actually know. Liz/Joanna does shoot him out the window, but she should have made sure he was really dead, because he might be Michael Myers’s ancestor.
Not only does he have exaggerated physical strength—despite his age and job, I mean, he’s not a soldier, he’s a reverend—and can snipe a kid in a blizzard with a mid-19th century weapon (could this even be done?), he seemingly has magical powers or future technology allowing him to consistently find where Joanna is. Did he microchip her? Does he have a GPS? Just how small is the Old West exactly? How does he keep finding her?
It’s a very small world, mostly because it’s written that way, a way that makes no logical sense whatsoever once you stop and think about it for a minute.
In Which the Movie Falls Apart
Besides torture porn, Brimstone has several problems both in regards to its construction and plot. Mostly that it makes no sense. The nonlinear narrative, which seemed interesting at first, does a very good job at concealing this important fact.
When we first meet Liz, she’s mute because her tongue was cut out. How did this happen?
We learn this in the second chapter, “Exodus”, when Joanna takes her dead friend’s identity. Elizabeth was a Nice Friend, so of course this means something bad would inevitably happen to her. In a scene of very gratuitous violence, Frank cuts off her tongue because she bit a customer’s tongue who was trying to kiss her while she had repeatedly told him not to.
The local doctor checks her up and gives her a book on sign language, which she learns along with Joanna. It’s sweet. Liz wants to run, and finds a Nice Older Man (see where I’m going with this?) who lost his wife and doesn’t care about her past, as long as she can cook and doesn’t mind that he already has a son from a previous union. Liz is very excited, and asks Joanna to come with her, and they can pretend to be sisters. Again, it’s kinda cute.
But of course, this nice ending just cannot be. (BECAUSE IT’S WRITTEN THAT WAY.)
On the very evening they plan to run away, they get the visit of a Very Special Customer who pays every woman in the brothel, and Frank is adamant that no matter what he wants, you give it to him. Guess who it is?
Why, it’s the Evil Reverend of course!
He came to find Joanna and is Very Disappointed by “her life choices”—namely, being sold to a brothel—and decides he has to “punish her”. This sentence is said so many times throughout the movie I’m sure it’s only there for a specific part of the audience to masturbate to. But hey, ‘Human Rights’ amirite?!
Elizabeth hears Joanna’s screams and rushes to save her. As you recall, however, she does not survive the confrontation with the Reverend (she’s too nice), yet he somehow manages to survive both having his throat cut and being set on fire. And this is where the shaky foundations the movie is built on finally collapse.
Joanna should be free. She thinks her father is dead. (And he should be, even though he’s not.) The brothel is on fire. She could go wherever she wants, do whatever she wants. But, instead of, I don’t know, doing something that doesn’t involve cutting her own tongue out, she decides to take Liz’s place and identity. Since ‘her’ husband-to-be expects a woman without a tongue, she visits the doctor and asks him to cut out her tongue. He can’t bring himself to do it, so she does it herself.
I can’t stress enough how pointless and gratuitous this is, or how this makes no sense in any kind of reality. There was no reason for her to do that. She didn’t have to take Liz’s place. She didn’t have to cut out her tongue. But that wouldn’t be as Dramatically Satisfying, now would it?
The Voiceless, or Missing the Point of Themes and Metaphors
Brimstone completely fails to grasp any actual theme or metaphor present in the story (besides, maybe, the “Symbolic Blood on the Snow” shot, whatever that meant).
The typical excuse of “historical accuracy” to depict “reality” in all its grittiness mysteriously disappears once it comes to one of the main traits of the protagonist: her being mute because she has no tongue. The addition of that disability to the story is never really explored, neither metaphorically nor realistically. Brimstone treats a self-inflicted disability as a Shock and Awe moment, and then erases its meanings from the narrative, much like Jaime Lannister and Theon Greyjoy in Game of Thrones.
Other than a brief moment with the doctor telling the original Liz how to care for her wound and giving her a book of sign language, and one scene in which Elizabeth teaches Joanna what she learned, the subject is thrown away so fast it almost feels anachronistic. It seems so random and out of place, it’s hard to believe that sign language has a very old, very rich, very interesting history because the movie treats it like a footnote.
Brimstone alsο completely erases any struggle Liz/Joanna might have with her disability while living in the 19th century Old West; it never stresses how dangerous and potentially deadly it would be to cut your own tongue. Which, I might reiterate, was only done to fulfill the plot’s contrived demands. She never has any communication problems. It never actually impacts the narrative. It doesn’t seem to incapacitate her at all. The only reason it happens is so the film can remind us (again) this is a Crapsack World, and she/we just can’t have nice things.
Speaking of the ending, it’s the final cherry on top of the ‘life is crap and good people can’t be happy’ cake. A sheriff from the town where she worked in the brothel drops by, and we learn the original Elizabeth had murdered Frank just before ‘rescuing’ Joanna from the Evil Reverend. As Joanna claimed her identity, she is now guilty of her crime. Conveniently, her daughter (who had been her interpreter) is nowhere to translate for her, but she doesn’t even attempt to explain anything. There’s nothing to explain, really. As the sheriff who comes to arrest her puts it:
“You should’ve changed your name, Liz. How many Elizabeth Brundys you figure there are in this world? And how many of ‘em you figure don’t got no tongue?”
The sheriff wants to bring her back to the town to hang her and puts her on a boat. In one final act of agency (maybe), Joanna, who is cuffed with heavy chains, decides to throw herself into the river, and drowns. But it’s ok! We see her smiling underwater.
As this depressing epilogue unfolds, we hear the voice of a narrator, much like we had in the opening of the movie. We realize it was provided by a grown-up Sam. “I remember her well,” she says in the end. “She was a warrior. Always in control.” Well, except from the part where her entire story was controlled by men, including first and foremost by the director-screenwriter.
Life Isn’t Sadistic, The Writer Is
This is a movie that tackles a faux-feminist message yet fails to grasp the meaning in a woman cutting off her own tongue. Martin Koolhoven seemingly has no idea what genre he’s writing, borrowing tropes from Gothic horror, Grimdark edginess, exploitation movies, and slasher films. This would be sad, if he wasn’t so smug, somehow believing he’s the first director-screenwriter to ever tell a Western from ‘a woman’s point of view,’
“Koolhoven: So I decided to started (sic) writing one, and then I started thinking, What is it actually that I’m interested in here? Why is it such an interesting genre? There’s this almost boyish quality to it, this adventure and artistic idea of freedom. But then, as I was thinking that, I thought, that’s a very macho approach. It’s only a half-truth because for women, Westerns are not actually about freedom all. I had just read a book called In the Rogue Blood by James Carlos Blake about two brothers, and at some point, the sister runs away and they say, “Okay, what are her options? Either she’s going to marry someone or she’s going to be a prostitute.” And that sort of hit me. I realized that that side of the story is never really told. There’s not a lot of movies about that. Actually, none at all. Then I thought there has to be a movie from that point of view.”
Even if we ignore the many different female-lead Westerns that showcase a great diversity of roles for women, Koolhoven isn’t even the first to tell a story from a sex worker’s perspective; I found a film with four of them.
Though it’s rather simplistically true that, historically, women have more often than not been confined to make a choice between “being a wife or a prostitute,” there were still many ways to navigate and test these limits. Exceptions don’t make the rule, but they still exist. So let’s ignore how there’s a 1993 movie that proves Koolhoven wrong. And the fact that the Old West was a lot queerer than we think.
Nah, let’s just remake Justine, or the Misfortunes of Virtue, set it in the Old West and call it Brimstone. How Bold!
Koolhoven and some interviewers seem to think Brimstone is doing something new, and praise it as “daring” and “provocative”. It’s not. Nothing here is new. This story is old, really old. This has been done already, over and over and over. There are ways to tell the story of a girl then young woman who tries to escape from her abusive father. Brimstone was obviously not the way to do it. Unfortunately, this form of storytelling is in vogue, much like the Grimdark subgenre itself.
At the end of the day, Brimstone is the same old Grimdark exploitation nonsense, the misogynistic, nihilistic, and reductive roots of which go all the way back to Sade. Horror and cruelty do exist, yes, but you can choose how to write about it. You can choose what you show on screen versus what you describe with dialogue. Sometimes “Show, Don’t Tell” doesn’t (shouldn’t) apply. As such, it’s rather easy to tell when the purpose is… well, torture porn.
The existence of evil doesn’t negate the reality of goodness. “Realness” and “historical accuracy” don’t equal “sadistic.” Writers who choose to depict these stories this way and inflict it on us, however, are.
Images courtesy of Momentum Pictures and Sony Pictures Television
Sith Inquisitor’s Journey to Freedom
Minor spoilers for the Sith Inquisitor class quest chain; minor spoilers for the Knights of the Fallen Empire/Eternal Throne DLCs
It is a great part of RPG experience, and even a greater part of RPG enjoyment, to like your character. And by “RPG” I mean any RPG whatsoever, from LARP to tabletop to video game. Which is only natural, as you can’t really relate to the character you don’t like. And what is RPG if not relating to a character so that you can share its fictional experience?
Which, mind you, doesn’t mean that person should be likable. More like, they should be interesting. An interesting piece of shit, after all, has a much bigger chance to win over your emotions than a bland, shallow Stainless Hero. Like, when you watch The Thief and The Cobbler (the recobbled cut, of course, not that abomination), you sympathize with the first much more than the latter. What a perfect role model he is! But I digress.
When I first set out to play Star Wars: The Old Republic, I was highly unsure if I really wanted to do so. I’ve always had problems with video games in the sense that they don’t actually let you create your character. You get a not-so-wide variety of characters and must choose one to try to empathize with. This makes every game a hit-or-miss case for me: either it’s love at the first sight, or it’s “who are those people and why should I have anything to do with them.”
Meeting the Sith Inquisitor
I confess, I made my initial character choice based on my desire to shoot lightning. I thought it would compensate for the lack of emotional involvement I expected. Luckily, I was mistaken!
The story was captivating right from the start because it had questions to ask. And those questions were directed to me, a player. It was me who had to answer them for myself. It was me who had to choose for myself. Because my course of action depended not on what were my plot goals and neither on my gameplay preferences. It depended on my opinion on certain problems.
Basically, you start in a very unprivileged position, that of a slave. An alien slave, if you really want to experience this story in its full power. You finish in a rather privileged position, that of a Dark Council member. On the surface this seems like a typical rags-to-riches story. However, the action/adventure story is only a minor part of the experience. The main part is the inner path—looking back to your past to create your own future and, more importantly, your future self.
In a nutshell, it is a story exploring how you deal with the trauma from past abuse: do you internalize the point of view of the abuser or the abused? As a survivor myself, I can only praise the way this narrative was given and framed in-game.
Dealing with the Trauma
So, you are a slave. You spend half your Prologue experiencing constant verbal and physical abuse from your sort-of teacher. He wants to get rid of you so that a free, Sith Pureblood candidate will win the golden ticket. But justice is served, and the ticket is finally yours. You are no more a slave, but a Sith—a person in the position of power above all non-Sith. What do you do now? And more importantly, how do you do it?
The game has a Light/Dark Side system in it. Before it was totally remade (broken, I’d rather say) it worked like Paragon/Renegade system in Mass Effect games: you choose one of two alternatives, you get certain amount of Side points, you become more attuned with a certain side of the Force. Or sometimes there is a neutral way, that’s neither. It doesn’t give you any points, but still is important in this storyline.
Your first encounter with Dark vs. Light presents a very typical kill the baby/save the baby dilemma: you can torture a witness to extract the criminal’s name, or you can talk to him and exchange help for information. A very easy choice, is it not? The next encounter is the one that gets under your skin.
It is with the evil mentor who wanted to kill you, who humiliated you, who was your abuser. You can scorn him now that you are free and a Sith in service of a Lord far above your former teacher’s station. You have every reason to hate this man, you have to wish to humiliate him in return. The first option is to threaten him, and while taking it would be extremely understandable, it is not a neutral option–it’s Dark Side. It is still playing along the rules of the system: might is right; you now have both, he has neither.
The Light Side option is to thank him, to break those unholy rules. You may not forget it, and you may be quite bitter later on about your early experience. You may never actually forgive him. Yet you refuse petty revenge, you refuse the power play. Because evil can’t mend or undo another evil.
I swear, something in my heart trembled when that rat of a man smiled to my character in return and thanked him. Because at last I saw the real Dark vs Light narrative, where Light begets more light–and Dark begets more dark.
Thus I understood that I really want to experience that story up to the end.
While both versions of the Sith Inquisitor’s class story present him dealing with his trauma, I could never get myself to try the Dark one. It was really, really dark; the story of a person broken and driven to the edges of sanity, who would never let anyone have anything that person was once denied. I really couldn’t help pity the creature that person would eventually become. It’s not that this story is exactly bad, but I think it is somewhat toxic and too much in line with “being tortured makes you evil” narrative. Not exactly the trope that is in any way helpful for abuse survivors.
The Neutral path—what you tread if you don’t follow any consistent course of action—was less devastating on the personal level. It is more of a quest for identit-y than anything else. Your character does eventually give in to the darker side of their nature, but also eventually does something truly and genuinely good and selfless. In the end they receive the name Occulus, for being a mystery to everyone , including themselves. Because they really don’t know themselves. After all, the Sith Inquisitor is presumed to be very young; somewhere in their early twenties.
I really loved the third option, the Light Side. It is a path of empathy, a path of true freedom. It is also the path most difficult both for your character and for you as a player, for it consciously sets you against certain old tropes and easy decisions.
Good Is Not Easy
Many games try to “convince” you to do right thing by making good choices less hard than bad ones. In general, this game is no exception; if you were to take the Dark route as a Jedi Knight, it would require more time and work from you than the opposite. But on this route it’s the other way around. Being a good person here is not—just as in real life—easy. It is hard.
I can’t describe Light!Sith Inquisitor as anything but a Suffering Empath. Having experienced much trauma in the past, this Sith Inquisitor struggles their best to shield others from the same trauma, even when it doesn’t benefit themselves. Even when it means direct harm to themselves.
For example, their power is based on that of the restless spirits they’ve bound to their soul. Letting those spirits go means the Sith Inquisitor goes back to the start, where they are fairly ordinary a Sith and no match for the truly mighty ones. It means a real threat to their life or, at the very least, their well-being. But because it is right, they fulfill their promise and let the spirits go and find peace.
In another instance, they encounter a racist, foul-mouthed, self-infatuated prick, and they don’t kill him. They choose this because that abominable creature is someone else’s loved person. and your own (both player’s and character’s) desire to punish him cannot be given a higher priority than someone else’s love and anxiety.
This route is hard, because it requires additional quests and lines of dialogue. It is hard, because sometimes you really want to teach someone the hard way, to vent your own (player’s) disgust and rage, to punish the bad guys. But as long as you remember the “two wrongs don’t make right” rule, you can really enjoy that story.
Well, “enjoy” is not exactly the right word, but you get it.
This story is about real freedom; that is, spiritual freedom.
One of the easiest paths to achieve your goals in Star Wars universe is by using Mind Trick. You simply make the other person do and think what you wish them to. It is often used as, well, an easy and harmless workaround. It is often marked as a Light Side option in the Jedi class stories (the Dark option being to fight).
But on this route it is never a offer as a good option—usually neutral, but sometimes even bad. Because, y’know, it’s about freedom. What is more abusive, after all, than to deny a person that person’s free will?
I cannot fathom an action more free of will, of an agency more openly expressed, than denying a whole system of oppression while being raised as a part of it. But the Sith Inquisitor does just that.
Every time they eschew their own in favor of someone else’s, they deny that system. Every time they refuse to acquire more power because it would others more dearly, they deny that system. Every time they choose to respect the free will of the others, even if it means problems for themselves, they deny that system.
What I really wanted to do, right from the beginning, was to thank the author.
Rebecca Harwick created a fascinating story that works perfectly for a genre that requires deep emotional connection with your character. RPG is about living other lives, those we can never experience IRL but those still having an impact on us and our life. We all know that stories matter, and I think we need more stories like that.
And it is a highly satisfying story. You really feel it by the end, that peace and glory that come with being righteous.
Personally, it helped me deal with my own trauma and helped me sort out things and realize that some options are not really an option—that giving in to the abuser’s point of view would really keep me stuck in that trauma forever.
That, while trying to be a good person is often hard, it’s worth it.
P.S.: And Then They Ruined It…
When you experience something that great, you want more of it, do you? Well, I wanted. So I went on to playing DLCs that are supposed to cover the later life of the same hero.
Sadly, the story-line there was clearly written as a continuation of the Jedi Knight’s class story, and any difference in dialogue was purely cosmetic. This actually came out bad for many classes, but the Sith Inquisitor suffers not only plot-and-logic-wise, but also thematically and, I daresay, problematically.
You see, it is generally okay if a privileged golden boy of a Jedi, who was always treated as someone special and a Chosen One, gets a lecture from those still above him about him not being special and his real role being a mere gear in a much greater machine. It serves him right and it even has some thematic significance. I am, of course, referring to the Jedi Knight—the supposed Anakin-done-right hero, the most obviously coded as male and most irritatingly problematic in and of himself.
This kind of lecture is certainly not okay when delivered by two uber-privileged guys (a Jedi Grandmaster and a Head of the Dark Council) to a former slave. They tell this slave to be nothing more than a cogwheel, that freedom is overrated and that they need to subjugate themselves to someone or something greater. They directly say, “you are weak because you fight for your freedom, become a willing slave (to the Force, but still) and you’ll be strong.”
It is problematic, isn’t it?
It really ruined the thing for me. The narrative that was centered around freedom, around acquiring it, understanding it and using it right…it was thrown away in favor of a rather lazy “we all are slaves of the Fate” plot device. And that’s only when we talk themes and not slavery per se, and the narrative completely forgetting about it.
My only solace is, it was written by another person.
Images courtesy EA Entertainment
Will Has a Women Problem
Love him or hate him, you have to admit William Shakespeare wrote some of literature’s most iconic women. Queens such as Cleopatra, Lady Macbeth, and Titania; tragic heroines like Cordelia, Juliet, and Ophelia; the outspoken self-advocates Beatrice, Katherina and Paulina. While only some of Shakespeare’s women wield legitimate, authoritative power, all of them are powerful figures on stage: women of devastating conviction, integrity, and passion At a time in history where women had few legal rights—and couldn’t legally appear on a stage—Shakespeare’s women stood as monuments to women’s potential and women’s reality.
It’s unfortunate, then, that Will, TNT’s ten-episode period drama, does its women a disservice. This is not to say that Will’s women are bad characters. On the contrary, Alice Burbage, Anne Hathaway/Shakespeare, Emilia Bassano and Apelina are powerful, bringing some of the most poignant emotional experiences to the show. Unfortunately, those performances don’t happen for the sake of their own characters’ individual growth. Frustratingly, Will’s women instead end up as tried-and-true tools shaping men’s destinies.
As Will’s love interest, Alice Burbage is the woman most affected by Will’s underlying misogyny (although she’s not the most insidious example). From her first appearance in “The Play’s the Thing,” when she leans out of her window, breasts just short of dropping out of her bodice, Alice is set up as a sexual object for Will’s attention. But it is her brilliance and dedication to the theater that draw Will to her as a lover and intellectual soulmate.
Alice is an “educated woman,” her learning much more advanced than the supposed average early modern daughter or housewife (who actually had to have a decent bit of learning in order to maintain the household, but suspension of disbelief and all that). She can read and write well enough to provide clean copies of scripts for the actors of her father’s theater, and has enough business savvy to help her family with the theater business.
Alice’s intelligence doesn’t exist for herself, though. Rather, it exists for Will. A blossoming-playwright with no experience, Will is a really terrible addition to the Theatre. He has talent with words but little else; he barely understands how theaters and theater-going works. For Will, there is only “the art,” which finally bites him in episode 3, “The Two Gentlemen.” No one will buy Will’s newest play, a complicated piece of poetry with nothing to appeal to an audience. Once he admits Alice is right and he needs her help, though, Alice gives Will access to all the plays in her father’s repertoire and then helps him hit upon the then-not-so-novel idea of stealing the overarching idea.
Once that’s in hand—with Alice guiding him in the selection and the theft—Alice helps him write.
“To him she must be like day, like night, like light. Like light.”
Even when Alice is asleep, her presence is the thing that spurs Will to continue to write, his eyes fixated on her as he writes passionate speeches for Sylvia. When James discovers them in the morning, it’s Alice’s fury and insistent on its quality—quality she oversaw—that gets it performed.
Alice does the same for Henry VI pt 2. After encouraging Will to write the histories out of order, she gives Will the title for the play:
“Henry VI: The Rise of the Dauphin Menace. When I was reading the histories, I discovered the Dauphin, Charles II, joined forces with Joan of Arc.” (Episode 6)
The pair of them function like this for most of the season: Will comes to Alice with the seeds of a play, the words that are his signature, and Alice provides the necessary structure to see the play succeed and Will’s star rise. She coins the term“prequel” for Henry VI pt 2, decides on the overall plot of that same play, and, perhaps most importantly, suggests Will humanize Richard in Richard III, making his actions more horrific by highlighting the humanity still lurking in the monster. Without that crucial character change, the endgame against Topcliffe would have failed.
Alice, however, never receives recognition for her significant, life-altering contributions. Will, of course, praises her genius and recognizes that without her, his writing stagnates. But he makes no effort to inform her father, mother, brother or any of the company about her crucial contributions to the plays that have made them and him, so popular. Instead, he sits proud and preening over the work she improved, enjoying her labors and her love until he is forced to end their relationship.
This is perhaps why Alice switches intellectual loyalties—Father Southwell gives her credit. The more entwined Alice becomes in his Catholic plot, the more Southwell praises her devotion and willingness to endanger herself. Southwell, however, is no better than Will, using Alice’s brilliance, grief, and determination to further his cause. As his newest convert, Alice is best suited for smuggling messages since she is thus far unknown to any of Topcliffe’s informants; moreover, her connections to the theater, frequented by one of the Queen’s advisers, give Southwell noble connections he needs to deliver his manifesto to the Queen. Alice, then, is Southwell’s newest and best instrument in his Catholic war. She’s also the one he loses most quickly.
In the end, everyone loses Alice; her destiny finally to leave the world she loved and desired in the hands of a man she can’t stop loving. Her suffering at Topcliffe’s hands encourages the company to perform Richard III (thus altering the torturer’s destiny) and cements Will’s undying love for her—none of which she can share. Instead, Alice must go, freeing herself and Shakespeare from a love she now knows could never be and no longer wants. It is only through that pain, apparently, that Will can go on to right the greatest love story: Romeo and Juliet, where his “bright angel” will shine again.
Alice is just one woman robbed of a life or dream for men’s sake. Another, set up against Alice, is Anne Hathaway. Never one to get a fair treatment in adaptations, Anne is everything Alice isn’t: an obstacle to his art and an intellectual inferior. From her opening line, Anne is portrayed as shrewish and incapable of seeing Will’s greatness: “Who will want a play by William Shakespeare?” (“The Play’s the Thing”). Anne is incapable of seeing Will’s art, and clouds his genius with mundane concerns like the survival of his family.
Is the sarcasm evident?
Anne’s demotion to a tool of Will’s destiny is briefer than Alice’s but just as unfair because she deserves better, from both Will and Will. However, her dire situation is never taken seriously. When Anne brings Will’s children to London to visit him, and learns about his affair with Alice, her hurt is shown as unjustified. Alice understands Will in a way Anne simply can’t; how dare Anne reject Will for something as simple as a connection with an intellectual equal?
Moreover, when Anne finally admits to Will her situation in Stratford, he cannot fully recognize or accept her pain or the fear that fuels her inability to believe in him. Living as a servant to his parents, with the threat of homelessness and beggardom, Anne physically can’t believe in his dream because a dream can’t help them now. It can’t provide them food or shelter. It can’t give them a livelihood and future. The money Will makes as a writer isn’t enough to ensure her and her children’s safety if they are forced out by his family and his father’s poor business practices. But Will sees her insistence that he take responsibility for them, that he look after them as he promised to, as manipulative and cruel.
All of this is heartbreaking because Anne loves, or at least loved, Will, and at some point, Will loved her. At the tavern, after she’s accepted by the company even after her fumbles, Anne and Will dance, smile and laugh. As they walk home and speak of the early days of their relationship, there is genuine warmth and affection in the shared memories. But domesticity chafes Will. It suffocates him in a way Anne is able to—and has to—endure, and he can no longer return the love she still extends to him. At his distress over Topcliffe’s threats against his family and Southwell’s inability to understand his situation, Anne reaches out to him,
“Yet you do not talk of your struggles with me. I am here to listen and to ease your burdens, as a wife should. If you would share with me.”
For her pains—for her labor, emotional and physical—all she gets in return is Will insistence he can’t, and won’t, share with her.
“I cannot speak of what’s inside of me. That is why I write.”
But Anne can’t read. Will’s writing—his plays, his dreams—is an impassable barrier between them, one which Will doesn’t bother to pull down and which Anne eventually accepts.
That’s Anne’s destiny: acceptance of being not even second best. “It’s not about the girl,” Anne tells him in episode 6, “Something Wicked This Way Comes,” as she piles their children in a carriage bound for Stratford. Anne is Alice’s inferior, but more than that, Anne is not theater. She is not the escape, the support and the adoration Will craves and now enjoys in the London theater. Anne is just the mother of his children, a burden to his art. Although it clearly pains her to realize it, she has to step aside; her only purpose left in his life is, as she says, “to leave you free to be who you wish to be” and fade quietly into a lonely life, awaiting money and the occasional letter.
Anne’s grieved blessing and disappearance are required. No longer a figure in Will’s life or thoughts—she’s referenced not even a handful of times after her departure and is never seen again—Anne no longer obstructs his art or his destiny. With this freedom, Will is able to put his pen and his talent to bringing the Theatre up and tearing Topcliffe down with one of his most powerful plays. He can take the first steps into the fame that will follow him for centuries.
Alice and Anne’s roles as destiny-tools are specific: they shape Will, and to a lesser extent Topcliffe and Southwell, into who they are meant to be. Emilia Bassano and Apelina don’t operate in quite the same way. Although they also, indirectly, affect Will’s destiny, their characters exist as more generalized comments on the role of women in Will’s narrative world.
At her first appearance in “Something Wicked This Way Comes,” Emilia Bassano seems to be a noble woman. Alice, however, breaks that illusion. She reveals that Emilia is Lord Hunsdon’s newest mistress—replacing the one from episode one—and although she was once nobility, she’s fallen on hard times. The daughter of a Venetian musician and “impoverished Moroccan royalty,” Emilia has taken up residence with Lord Hunsdon as a companion skilled in conversation and poetry.
She has absolutely no illusions about her purpose and position. “Thou art sorely misguided,” she tells Will in episode seven, “What Dreams May Come,” “None of this is mine. It belongs to Lord Hunsdon, just as I do.” Emilia is property, dressed up in the finest the Queen’s advisor and cousin can offer but with the knowledge that she is no longer her own. Emilia is a thing now, a thing as pretty as her dresses and jewelry, but expected to perform certain duties and services or suffer unspoken consequences.
Her status as high-class property affords Emilia some freedom, but nearly all of it is used to serve others, most often as facilitator. She puts Will in touch with Lord Fortuscue, whose commission for A Midsummer Night’s Dream saves the Theatre from closing. She overhears Lord Hunsdon’s conversations and then shares important details about Topcliffe’s promotion and Alice’s increasing role in Southwell’s plot with Will. But Emilia also provides what she can, especially when Will rescues Alice from Topcliffe’s clutches. She opens Lord Hunsdon’s house to them and gives them access to her own personal physician, even knowing the danger it puts her in.
As Emilia said, nothing she owns is hers. If Lord Hunsdon, cousin of the Queen cousin and–until the last episode–Topcliffe supporter, learns of her aiding and harboring Catholics plotting against him, her life could be in danger. But no one ever addresses or acknowledges this. Emilia is not important enough for fear. Convenient when she is needed, shelved when she is not, the precariousness of her situation—a situation Will brings her into with a well-written sonnet—is never given serious consideration by anyone.
Nor is Apelina’s, although she is confronted with the danger of her choices almost daily. Her situation, in many ways, mimics Emilia’s: they’re both owned, although by different classes of people. Emilia is a nobleman’s mistress, Apelina a peasant sex worker. Apelina has a nearby brother to consider while Emilia is separated from apparently all she’s ever known (but never seems bothered by that fact). However, the most important difference between these two women is that Apelina is given no identity within the narrative.
From her first appearance in “The Play’s the Thing” to her death in “Something Wicked This Way Comes,” Apelina has no personal identity or discernible history apart from “motherless whore,” “dirt-some punk,” and Presto’s sister. Her name is never even mentioned in the show; it only ever appears in the ending credits, a brief half-second flash near the end of the cast list. Without an identity, Apelina occupies the lowest space for women in Will: a complete and total object, to be used, cast aside, and then briefly mourned, if she’s lucky.
She is somewhat “lucky,” in that regard. Her brother Presto is clearly devoted to her, or at least to the idea of her being free. He takes up thieving to pay for her freedom and tortures himself with every day she suffers under Doll’s thumb. Apelina shares that love, and fully verbalizes it when Doll tries to sell Presto to Topcliffe. She helps him escape and undergoes torture to keep him safe. When Presto is caught and agrees to prostitution, she tries to make it as easy as she can for him, giving him alcohol to ease the pain and offering him a compartmentalization technique that has always helped her.
None of this, though, is for her.
Everything Apelina does is as Presto’s sister; everything she does, and says, and is, is for Presto’s growth. Presto needs to suffer, needs to steal from the Theatre and then feel the intense grief and pain to move him into position for Will’s final endgame. But unlike Alice’s case, it is a private grief. No one apart from Presto and Will ever know about Apelina and her role, and even they speak of it only in passing.
In a way, it makes sense that the women in this period drama are so suppressed. Will focuses on the downside of pursuing dreams: the things lost when dreams become obsessions and are followed without any sort of consideration for the lives affected. Yet, Will never took the opportunity to explore the women’s dreams. Alice could have been shown learning that she would never inherit the Theatre and then working to change that reality. Anne could have turned her attention to a different destiny than the happy, stable marriage she once desired. Emilia could have looked for ways to restore her status, or to bring unmentioned family to her side. We could have seen Apelina dreaming of a life of freedom, a home for herself and her brother.
But Will doesn’t care about women’s dreams and women’s destinies; there are dozens of women in Will, named and unnamed alike, and none of them exceed Alice’s crucial instrumentality or Apelina’s limited use. Even Queen Elizabeth I is only referenced, never seen. Will’s world is a man’s world, and male destinies, desires, and hopes are the only ones that matter. Women—their needs, their livelihood, their lives, their bodies—are considered only so far as they work to further or hinder men’s destinies. They are tools, sharpened for use and discarded when no longer needed.
Instead of characters, they are caricatures.