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The Last Jedi is the A Feast for Crows of Star Wars




This piece contains FULL spoilers for The Last Jedi

It’s been a week since The Last Jedi came out. There are petitions on to have it stricken from canon and to have Rian Johnson issue a formal apology for it. The Rotten Tomatoes differential between the critic and audience score is a mind-boggling 38 points. Fandom dialogue, even for this one, is at its most heightened state yet. And I don’t understand a word of it.

I sat in the theaters on Saturday morning with my breakfast popcorn and a huge smile on my face. This was a perfect movie. The character arcs were tight and meaningful, the setup was perfectly logical and focused, the force mythos was expanded upon, and the themes toyed with were thoughtful and uplifting. This was exactly what I wanted in a Star Wars film, and I couldn’t wait to revel in that excitement with everyone else.

Only it wasn’t there.

Now, I want to say right here that I’m not taking aim at all criticisms. For instance, as a white woman, I lack the background and experience where, say, the imagery of Finn being tazed would be viscerally upsetting. There’s a fair bit of discomfort being expressed at the treatment of POC in the film—from feeling like Finn and Poe were sidelined, to Rose/Finn dipping into tokenism territory, to Poe’s writing being stereotypical and formulaic. These are unfortunate implications, whatever Johnson’s intentions, and it’s important that we leverage voices of marginalized viewers so that this kind of stuff gets addressed. Or at the least, so Abrams feels a bit more compelled to have a diverse writers’ room with Episode IX.

It’s also not like there’s only some valid criticisms. At the end of the day, there’s no accounting for taste; if people felt the writing was bad, the characterizations were poor, or the story was uncompelling, then that’s the way of it. It’s just that when those are the types of complaints, I can usually at least understand where it’s coming from. Legend of Korra is a perfect show to me, but I know it’s also a hot mess and I get why people pan on it.

So I did what I always do; I tried to dig into these complaints and really come out on the other side of hearing it. I guess Luke’s scripting could be seen as sitting in contention with his attitude in Return of the Jedi. (Even if to me, his success in “redeeming” Vader set UP these events, and if he saw the horrible pain and suffering at the hand of Ben that was basically inevitable in his mind, then his instinct wasn’t exactly unreasonable, especially since it also meant the protection of his other students.) I guess Finn and Rose’s subplot technically wasn’t necessary. (Even if it was the thematic center of the entire movie.) I guess we needed more answers as about the politics behind the First Order and who Snoke was. (Even if these were problems Abrams introduced with The Force Awakens, and it’s simply not the focal point of this story, just like Palpatine’s backstory hadn’t been in the original trilogy.)

I just couldn’t do it! I can’t even write a paragraph out explaining the complaints without adding my own justifications. And to make matters worse, the longer I’ve thought about this movie, the deeper it gets, and the more I like it.

I have no clue what these “twists” are that people keep referring to; there was a deconstruction of standard Star Wars storytelling conventions, but everything was born from the characters, and it came together with a message that was complete in-line with the originals. I understand not connecting with Rose the way I did, or wishing Luke had been more optimistic, or wanting Kylo and Rey’s dynamic to be painted in a different light, truly. But the virulent hatred is not something I understand at all.

Until it hit me: I’ve seen this before. A piece of hotly-anticipated media that subverted expectations and broke down the core of the story being told? That forced the audience to pull back and consider foundations, while focusing on character arcs that parallel and complement each other with remarkable cohesion? A story that the more you think about, the more there is?

Just imagine a fathier

Yeah, that’s A Feast for Crows from George R.R. Martin’s A Song of Ice and Fire series. You know, the “boring book” in the series that is usually cited as the worst one, again, to the confusion of me.

Now look: I don’t want to pretend Abrams or Johnson are even half the worldbuilders that Martin is. I also don’t want to pretend there aren’t flaws in Martin’s writing, or that The Last Jedi couldn’t have done with tweaks. But I do think the strong reaction against the newest Star Wars film bears a striking similarity to Feast’s polarized reception as well, and for many more reasons than the fact that there is a polarized reception in the first place. So let’s dig into Johnson’s work.

Focus on Themes over Plot

I’ll be honest here—the talk about all the “plot holes” in The Last Jedi really confused me. There was a bit of an inconsistent timeline (nowhere near the full-blown wonkiness of Empire Strikes Back), but otherwise we were looking at a bottle episode. The Resistance was on the run from the First Order. There were specific logistics with their ships that prevented them from escaping. To escape, they had to disable the First Order’s tracking. This went poorly, so they took a Plan B (or C or D maybe) and made to hide on a planet.

The worst that can be said about this movie’s plot was that it’s not incredibly interesting, though in my opinion, these types of movies are when characters are able to shine. Kind of like how they did in Empire, with the main plot being “Leia and Han crash on a friend’s couch.”

No, the creative energy was not spent solving J.J. Abrams’s annoying mystery box for him. It was spent instead on delivering us one of the most thematically packed Star Wars movies to date.

Some bash you over the head. “Failure is the best teacher.” Yes, there’s a lot of failure in this movie. Finn and Rose’s “heist” doesn’t work, Poe’s mission to take down the dreadnaught leaves the Resistance exposed, Holdo’s transport strategy was found out, and oh yeah…Luke couldn’t save his nephew, or the entire concept of the Jedi Order.

Sure do hope nothing happens to these books.

Interestingly, I’d argue that Rey doesn’t exactly fail, unless you consider it her role to redeem Kylo. I suspect many do (let’s not), and that is ironically everything Kylo’s scripting takes a shot at, given that he’s a not-at-all-subtle embodiment of white, male entitlement.

It is likely for this reason that the movie also hammers home the idea that it’s our choices and actions that have consequences, regardless of intent. Luke’s internalized guilt over “failing” Ben was part of this; it didn’t matter why he ignited his lightsaber, but he did that thing and it brought everything down. Poe and Finn both learned that good intentions can result in people getting hurt, though from opposite angles. Even Kylo’s “kill the past” drives home the idea that he’s sticking to his choices.

We’ve also got the good ol’ balancing of the personal and political, which is a particular favorite of George R.R. Martin’s. Finn’s focus went from being entirely about protecting Rey, to seeing the systemic injustice and willingly putting himself in front of the barrel of that gun, only for Rose to show him the balanced path, as Gretchen pointed out in her review of Cobalt Squadron—fight for those you love, and inherently consider yourself. Poe’s arc handled the topic in a similar way, though he had started out all guns blazing against the First Order, without a focus on the individuals. Holdo’s course of action was more “do what you can to fight another day,” but she ultimately threw herself into the fight to allow others that opportunity. Luke had to grapple with the personal grief within his family to show Rey a path.

And Rey, our main protagonist, was in the center of all of this, struggling to understand who she was and her origins to find some place in all of this.

Parallels on top of Parallels on top of Foils

I actually have to stop myself here from getting too deep in discussing the themes, because they are so intimately and thoroughly linked to character journeys and overall messaging that I’m more or less in danger of upstreaming my own points.

Like A Feast for Crows, most of The Last Jedi deals with identity. This is most explicitly Rey’s journey, since she literally stumbles into a vision centered around that question, but it is present in every facet of this movie. And like A Feast for Crows, she is hardly alone in this.

Poe and Finn are the Jaime and Brienne of the tale in terms of how closely they mirror one another. It’s true that neither could be considered to have a slow-paced travelogue; as described above, they came from opposite angles of how to view the Resistance and their place in it, ultimately to settle into a point of balance that took the big picture in mind, over their impulses. Finn, being a former stormtrooper still coming out of conditioning, has an opening mentality that feels better-seeded than Poe’s. However, I do struggle with claims of Poe being “out of character” when the man was more or less a complete MacGuffin in The Force Awakens. And in the case of the narrative, it is the whole and not the sum of the parts where the takeaway can be found.

This is where Rose steps in. Her line, “We’re going to win this war not by fighting what we hate, but saving what we love!”, is the moral center of The Last Jedi, and really the original trilogy, when you think about it. However, Rose is not merely a font of thematic wisdom; she has her own arc that solidifies this. We’re shown how she feels about Canto Bight. How her own deeply felt sense of loss—raw from her sister’s death—makes her want to “put her fist through this beautiful city.”

The fathier race through the city does cause damage, and we see her enjoying it, but the moment she cites as making their (failed) excursion worthwhile was when she freed the fathier she and Finn rode. It’s about empathy and love, not fleeting revenge (however justified), which both Finn and Poe fell into. DJ is the one who allows Rose to put it into words in the end, since he breaks down the illusion of “sides” being the all important dialectic.

Foils on a trip together!

All of this, of course, is exactly what Rey and Luke grapple with. Luke fears her going “straight to the dark” when she first reaches out with the force, but yet the absolutes he held dear quite literally went up in flames. Rey, meanwhile, embraces the darkness as a quest for answers, yet stays committed to an empathetic course of action. That’s the goodness. That’s the only “side” worth fighting for. It’s the side that makes her believe Ben could turn away from the pain and destruction he’s caused, and the same side that makes her immediately rebuke him when it’s clear that he’s still committed to it. Luke sees that this new path Rey carves out is the one of the future, and ultimately sacrifices himself to see that through, saving his sister in the process.

Holdo is seemingly the odd-man-out in this tale, but she parallels Rose and Leia and Rey in finding that middle balance between intention and action. At the same time, she, Leia, and Luke all redefined what success was for the Resistance and adapted to the new situations. Yeah, they were so badly beaten that they all fit on the Millennium Falcon; but hope, centered around caring and balance, lived on. And it loops back to Canto Bight, where the poorly treated stable boy, inspired by Finn and Rose, has that same drive for justice and same commitment to empathy that keeps the resistance alive, no matter how many die. Oh and he also has force powers.

(As a side note, this is why I have extreme confusion about people who consider The Last Jedi to be depressing in its message, just as I believe there’s a romanticism and faith in humanity underlying A Feast for Crows.)

The only person you could say doesn’t have a character arc is DJ, but he is most decidedly a character to frame this message, in the same way the Elder Brother frames Brienne’s journey. Simply put: in a Martin-esque novelization, he’s not a PoV character. Neither are Hux, Snoke, Phasma, BB-8, or Billie Lourd (was she named yet?).

Kylo Ren is though, and to equate him to Cersei Lannister would frankly be an insult to her character. However, there’s one commonalty they share: they are foils to literally everyone.

See that’s the thing: Kylo Ren is our antagonist. I’m firmly of the belief that this story should not head towards a redemption for him, which I’ll elaborate on a bit more below. But he’s a brilliant antagonist for the precise reason that he is a foil. There’s the obvious way in which he acts out of revenge over compassion. He’s also the “opposite” of Rey in terms of background and view of his role in this narrative. He tells Rey she has no place in it, while he is the one who claimed to be entitled to Luke’s lightsaber in The Force Awakens, for instance.

And who does Star Wars belong to, I wonder…

All failure on the part of the characters in this resulted in a readjustment or reframing of the issue…except for Kylo, who doubled down. He learned Snoke had been pulling strings to make him believe he could “turn” Rey, but after cutting down Snoke, merely took his place. Shockingly, Rey was less than wooed.

The Last Jedi’s tension was really just every character defining who they were to themselves and what their place was in this. Seriously, every character. Kylo chose who that was for him, and of course in true poetic justice, his desire to free himself of the past (double parental issues!) more or less guaranteed it would always haunt him and likely lead to his downfall. “See you around, kid.”

He’s a self-made villain in a Cersei-ish way, and as the audience we are invited to understand what that battle within him looked like. It’s just that unlike Cersei, he’s also the embodiment of entitlement. Luke is too, on a narrative and meta-textual level. But Luke’s arc had that readjustment; he changed with the times and redefined the Jedi Order, as well as his own narrative participation, by what was now needed.

Women Take the Reins

This movie is just…very relevant to our times. And apparently Rian Johnson got the memo that “the future is female,” though without the usual Hollywood infantilization that accompanies it. Or perhaps, “a woman’s place is in the Resistance” is more on the nose.

Commodification of political activism notwithstanding, The Last Jedi had absolutely no chill about women driving not only the plot, but the solutions.

Rey’s approach to being mentored by Luke was more or less her going, “That’s interesting, but I’m not going to listen to you at all because you have weird absolutist views on this stuff as a result of your own baggage.” Rose saved Finn with the decided message of “you matter,” because she had been able to redefine what success and justice looked like for her. Leia literally stun-gunned Poe and yelled at him until he got a similar message, which was validated by Holdo’s sacrifice. (This is not doing anything to prevent me from running away with Leia/Poe headcanons, I should note.)

That’s to say nothing of these headcanons…

Perhaps the best bit is Rey’s own refusal to engage with Kylo. She was primed to take Luke’s place as the one to drive a redemption, only to realize that it wasn’t her burden or role, and that if he was going to choose to be an asshole, then she was going to quite literally shut the door in his face to any further interaction. His “you don’t matter except to me” attitude was fully rejected. She knew she had a place in it, one that she chose and earned, and that will become her story.

I don’t want to belabor this point, especially since it bleeds into the next one. Also it’s been rather obvious from the get-go that Rey is our central figure in the trilogy. I suspect some of the push-back may be due to this fact, in the same way it’s hard for me to ignore that 57% of the chapters A Feast for Crows are a female PoV.

However, while that might be a shade to dialogue about both pieces of media, I believe it’s more a case of…

Deconstruction of the Rules of the Universe and Subverted Genre Expectations

We’ve discussed before how A Feast for Crows sort of switched genres on the reader. Granted, the A Song of Ice and Fire series is all about a subversion of genre expectations. But the fourth book was also the one where we were forced to sit with the fundamental nature of fantasy stories and truly crack into what it meant. As I wrote:

“Through broken characters and a broken landscape, Martin was able to hold a light up to the inherently unsustainable nature of the feudal order. Violence wasn’t worshipped, and pacifism was often far more daring.” —AFFC is the Best of ASOIAF and I’m That Person

This was always the case in A Song of Ice and Fire, though the lens was not held up explicitly until the “action-packed” first chapter (the War of Five Kings) concluded. Here, book readers were not able to escape the fact that this series—which could easily be read as awesome twists and messed up moments in a quasi-medieval setting—was created to take aim at all of those moments. Or, they did escape it by focusing on the lack of action, instead of what was now filling the page.

(Despite what it might seem like, I’m not judging anyone with this reaction; I too found Feast dull on my first read through, and didn’t really “get” it, or really the series, until my reread.)

I suspect strongly that opinions on The Last Jedi will warm with multiple viewings. Because it did break the paradigm of this franchise. Kylo Ren won’t be redeemed (or, if he is, it will sit in contention with everything this movie introduced, and the new trilogy will end up being the most fascinating game of tug-of-war between Rian Johnson and J.J. Abrams). Skywalkers aren’t the center of this story, and nobodies earn their place as the heroes through actions. Yoda lights the old ways of the Jedi Order on fire, and tells Luke to get over it because times change. Luke chucks his lightsaber over his shoulder and refuses to take part as the mentor.

On a Doylist-level, the two white men hand off the narrative. Luke does so willingly and sacrificially, while Kylo takes himself out of the running as a hero. This is a story that belongs to women and POC, our decided heroes, with an East Asian woman explicating the thematic core to the audience.

That “paradigm breaking” stance

“It’s Star Wars! It’s about how nobody is a lost cause and anybody can be redeemed!” Is that the case? Because as Gretchen so eloquently stated to me, redemption as a foregone conclusion can’t actually be a redemption. Star Wars has really been about giving people the opportunity to change, and Rey did that here. Hell, she assumed the same thing as Star Wars fans; the Skywalker gets redeemed. It was going to be like poetry and rhyme.

So yes, it was a rug pulled out from under the feet of some viewers. But it really isn’t counter to Star Wars ethos. Instead, it was a deconstruction of what this really means, and a bit of a spiritual successor, like Legend of Korra was to Avatar: The Last Airbender. Once again, it was Gretchen who put into words exactly what was discovered: “hope is communal, not individual.” Yup, that’s the core of this franchise.

Maybe I’m incredibly wrong about where Kylo is headed. It is clear, however, that The Last Jedi took aim at the Skywalker legacy with an assertion that this story didn’t belong to them. Rey had a place in it, whatever Kylo told her about her parents. The fact that they’re morally bankrupt nobodies? Even better. It also took an even stronger aim at the “chosen one” trope. Yeah, that was what the original trilogy was structured around. But was it necessary?

If anything, Luke’s headspace and guilt shows the damaging results of buying into it. He was “Luke Skywalker,” so of course he was going to restore the Jedi and be the perfect instructor. His success in Vader’s redemption juxtaposed with his failure to save Ben sets up his alienation. And the fact that he finds hope not in perfectly correcting mistakes, but in learning from them, growing, and adjusting? That’s the point.

The world doesn’t need Luke Skywalker, because there can’t be a chosen one with that burden on them. It’s not sustainable or healthy. Instead, the world needs those who will fight for justice when the time comes, and who place empathy in the center of their morality.

The now-stricken EU had historically painted Luke in a different light, as more of a classic action hero. But that was never him. He was always a bit of a trope-buster, and the absolute perfect person through whom the paradigm could be deconstructed. Just like Rey, the nobody from nowhere who hadn’t wanted to leave for an adventure at all, became the perfect person to embody the change.

Everything you just said is wrong.

If you didn’t like The Last Jedi, try rewatching it. You still might not enjoy it, or you might see better potential in other directions. That’s perfectly fine. But I highly encourage trying to engage with its thematic core. I promise, that extraneous Canto Bight theater is suddenly going to start looking very relevant.

Images courtesy of Disney

Kylie is a Managing Editor at The Fandomentals on a mission to slay all the tropes. She has a penchant for complex familial dynamics and is easily pleased when authors include in-depth business details.

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Faerie Tale Aged Poorly





Once again before starting this article I must once again confess that I do not own Faerie Tale in its original langage. This shouldn’t be a problem for the following article which as more to do with the story than with the style of the book. Nevertheless because of it some names might sounds strange. I apologize for the inconvenience.

There is nothing worse, speaking of books, than getting utterly disappointed by a book that seems written for you. The other day, when I pitched the story of Faerie Tale to my best friend, he asked me playfully “why are all the books you are reading always so you?”. And that is true. On paper, Raymond E. Feist’s Faerie Tale had everything to please me. Folklore, slightly gothic ambiance, horrific set-up, fantasy, a focus on a coming of age story, an entrapment situation… Everything! I even read it in the best mental conditions possible to welcome the story warmly.

And yet as I progressed in the story, an increasing amount of elements irked me. Until the final of the mystery of the ex-owner of the house was reveled. I wasn’t just irked at this point. I was laughing. Laughing because what I was reading was laughingly bad.

In the end if I were to grade Faerie Tale I would give it 5/10 because there were things I really like so it doesn’t deserve to be under average. And I wanted to like this book. Still, after my encounter with the laughingly bad twist I came back on everything that irked me about Faerie Tale. It’s not good and it doesn’t deserve more than the strict average.

But maybe there is more to Faerie Tale. Maybe it isn’t a disappointing book after all. Maybe it simply aged poorly.

The plot

The Hastings in Fairy Land

Faerie Tale follows an American family, the Hastings, relocating to the father’s hometownin the 1980’s. The Hastings are five. Phil, the father, is a popular screenplay writer. Gloria, his wife, was a actress without real career who dropped everything to take care of her sons. Gabbie, Phil’s daughter from a first marriage, is a young college student who came to spend the summer with her father. And finally there are the twins Sean and Patrick. The Hastings are rich, in the case of Gabbie crazy rich. Is it important to the plot? Not really. If anything, it makes the Hastings will to endure what is thrown at them weirder. But it allows the initial situation and its mention a lot (A LOT) so I figured I should mention it.

Thanks to their sweet sweet money, the Hastings bought the house and land of an eccentric German who passed away without heir. On the land stands the Hill of the Elven King, a place, which in the local legends, is renowned for hiding the faerie court. Of course, as it turned out, it isn’t a legend and the fairy living there are trapped and want nothing more than to be free. And for that they are more than ready to manipulate the Hastings into helping them (I guess they are also doing all that they are doing because they are fairies and therefore assholes).

As you can see on this 2013 cover, the fairies aren’t nice little winged creatures.

After several very severe incidents (Gabbie being nearly rapped, the family cat being gutted, Sean being swapped for a changeling) the Hastings (let’s be perfectly honest Patrick and Phil) helped by some secondary characters (all men) defeat the evil fairie. They also make a pact with the less evil one and the status quo is restored. The world is saved.

Still, the international secret organisation that secretly rules our world makes everyone forget everything about what happened, except for Patrick and Sean. Then, the Hastings are magically manipulated into moving back to California.

Everything for Nothing

Here you already might see one of the issue with Faerie Tale. What was the point of the books? We have five main protagonists and two are virtually unchanged by the 370 pages of development they just undertook. Gabbie has development (and I will come back to it later), but it isn’t linked to the faerie business. So if we exclude the twins, what was the point of the story?

Most of the characters, who weren’t really interesting to begin with, didn’t progress because of it. The villains—who are unnamed, unseen, and whose goal was already reached at the beginning—have already won. It wasn’t scary. It was mildly distracting (I might be harsher with my books that I am with my TV-shows, but it’s like that). And it didn’t have any sort of profound meaning.

So yeah, the plot of the book has its issues already. But that’s not the only problem with Faerie Tale.

The Myths

Being a story of urban fantasy (rather rural fantasy… please someone stops me) Faerie Tale deals with myths that are real.

Fairies as archetypes

One the things I really liked in Faerie Tale is that the fairies are fairies. They aren’t human and don’t have a human sense of morality. Their essence isn’t the same as ours. And frankly it’s refreshing. Considering the current craze around fairies in YA where the fairies are mainly pseudo medieval humans with powers and a penchant for misogyny, I am delighted to be facing creatures that are really different and troubling.

The fairies in Faerie Tale are archetypes. They play a role and when they have been beaten, another steps into their shoes assuming their role to the point of taking their identity. They are immutable. And they are monsters that are egoist and takes pleasure from human inconvenience and misery. Some of the members of the fairy courts are humans, but they are humans who have suffered the corrupted influence of the fairies for years. They are unhappy, twisted, wrong, etc.

So, Feist did create an interesting fairy court. The only complaint I have is that it is made pretty explicit in the book that the degree of horror inflicted on the Hastings is linked to the will of the fairy to break free. Meaning that if the master plan wasn’t set into motion, the family would just have suffered harmless pranks. None of the pranks they suffer in the book are harmless (except one) and they are all linked to the master plan. Which leads me to believe that this fairy court is super lazy on a daily basis. But that’s just a detail.

One folklore to rule them all?

My main issue with Faerie Tale is the refusal to explain where the fairy court stands in a complex cosmology. I mean the book states that fairies, as conceptualized in Ireland and Germany, exist. Apparently Christianity might be correct too, since Christian prayers are efficient against fairies. But what about other religions that have different folklore traditions (Islam, Judaism)? Are their prayers efficient against fairies, too? Do their folkloric monsters (Djinn, Golem) exist too? The story explains how the fairies were brought to America, but what happened to creatures from the various Native American folklores? Did they ever existed? Or is this a case of ‘Germano-Celtic culture was right all along and every other belief is superstition’?

A good example of that is the presence of White Ladies in Faerie Tale. You see, in France White Ladies are probably one of our most famous folklore creatures. The issue is that they aren’t fairies. They are revenants. They announce death (or they might lead to yours if you see them, it depends on the legend you are considering). The myth is old and persistent. The Louvres and Versailles were and still are known to have their White Lady. The current urban legend of a vanishing hitchhiker has been fed in France by the White Lady mythos (most of these stories in France are about women who warm you about the place they died leading you to your death or avoiding it, it depends).

So when I saw the White Ladies of the books depicted as sexualized fairies in a fashion reminiscent of the Brides of Dracula, you have no idea how disappointed I was. “They suck” was my honest reaction.

To be perfectly honest, the issue I have with Faerie Tale‘s lack of a complex cosmology that refused to acknowledge the diversity of myths might have been enhanced by the fact I read Neil Gaiman’s American Gods just after. Still, there is something missing here. And it’s annoying.

I guess it’s always hard to be compared to a highly praised, multi-awarded book.

Conspiracy theory

If I tell you a story put fairies and a conspiracy theory together, you might answer me that doesn’t sound like a good mix. And you are right. As a general rule, I am not a fan of conspiracy theories. I think they are way of shifting the blame from the actual people responsible for the situation to someone else (sometimes a disadvantaged minority) and preventing systematic changes. I also think that they are often anti-science. If we add to that our current political context of fake news and post-truth, I would find any story cheaply relying on it distasteful.

Unfortunately that’s what Faerie Tale does. The ex-owner of the house was a member of a secret organization using fairy magic to rule the world. The members of this organization are super rich and super powerful and they use all this power to remain secret and keep the fairies from hurting humanity. Wait… Are they the good guys? No, they aren’t because they are still a secret evil organization that rules the world for its own gain and that’s all… They just want to be rich and powerful. They are the GAFA without internet and with pixie dust.

They are uninteresting. They are unoriginal. They don’t add a lot to the story considering that all their influence undoes the story. From a storytelling perspective, they are useless, stereotypical, and dumb. This is the laughably bad distasteful part of Faerie Tale.

The Characters

Faerie Tale’s characters aren’t unforgettable. Far from it. Every time I sensed something interesting could be done with one of them their potential was utterly wasted. But I will focus on two main issue in this section

Money, money, money

Thank you Faerie Tale for making me feel like Lady Violet Crawley.

Me every time a character starts mentioning how rich they are.

Never would I have thought that a book about fairies would talk so much about money. Never would I have thought that characters could talk so much about money without having their story center around it. The Hastings are rich. Gabbie is more or less the equivalent of an heir to the Rockefeller fortune. Despite that they are presented as humble people. I mean, the book tells us they are humble and they do welcome everyone in their home.

But everyone must be ready to hear about how much money they have. Phil explains to a perfect stranger (let’s be honest, he spoke to him twice before this) how much his daughter is rich. They have their own lawyer, their own agent. They can pay a doctor to came to a study specifically for them… But rest assured that they don’t spoil their children and raise them to value real life. They just allow their daughter to drop out from college because she won’t have any problem starting again later. They buy a house on a whim. They postpone their children’s extravagant fancies to teach them rationality. They dropped a promising career because they don’t think the story they were writing was good enough…

You know normal stuff from normal people who aren’t literally made of money. How did they get this money? Well Gabbie inherited it. Phil wrote extremely popular movies fro Hollywood. What are they doing with this money? Phil is doing normal things for an 80’s American: not paying taxes that would finance public universities, public healthcare, etc and indulging in an lifestyle of over-consumption. Gabbie is buying horses and an expensive car (paying for her little brother’s treatment) and not learning how to do anything significant for the companies that create her fortune. Relatable stuff that will definitively make them sympathetic to an average audience.

Sure, it could be forgotten in the narrative. But they talk about money all the time! This is ridiculous. You just want to shake them violently and scream “You are rich idiots without real problems who put their children at risk and need to move out of the bloody estate!”.

This constant mention of the Hastings’s fortune ended up making them despicable in my eyes.

Female characters


Faerie Tale has a deficiency of female characters. If I had to give a percent of the gender balance of the book, I would say that 65% of the characters are men and 35% are women. To gives you an example, there are four named doctors in this book, the four of them have dialogue, all of them are men. Among the fairies, four of them are women. All of them are sexualized and none of them really have an agency linked to the master plan. The three most important fairies are men. And despite Gabbie having a strong sexual reaction to them, none of them are describe in any way as sexualized as the female fairies are.

And don’t tell me it’s impossible to sexualize male fairies!

Wasted potential

Among important female characters, we have Gabbie, Gloria, and Phil’s university mentor. Let’s start with the last. The first thing of importance to note is that I have forgotten her name. But let’s put that aside. this character could be an interesting one. Indeed, having a woman scholar who guided several male characters in their literary/professional progression is pretty progressive. Having men being inspired by a woman’s work and ethic is great. It’s a nice reversion of the “I don’t want to fuck him, I want to be him” trope, and I think it essential for boys and for girls to see it done more often in media. However, your devoted servant would argue that it isn’t that well done here.

Phil’s university mentor has a maternal relationship with both the men she has tutored/is tutoring. She even misses the true calling for one of them: being a dialogist. And of course the person who notices this oversight is… a man. In general, she doesn’t do a lot of mentoring despite the evident respect both her students have for her. A huge missed opportunity.

Hello glorious moment of a video game that introduced me to the awesomeness of a female mentor.

Now to Gloria. Gloria isn’t a bad character. Once again she had a lot of potential. She is the only one of the adults Hastings that feel there might be something deeply wrong with the estate. She even witnesses a fairie’s activity, which allows her to connect with Patrick after Sean’s disappearance. Clearly, or at least from my point of view, Gloria was built to be the parent who ultimately assists/saves Patrick in his quest to get his brother back. But in the end, it’s Phil who gets the mission of finding his sons. Phil, who never showed any instinct for the supernatural and who had no progression—no real mental progression—linked to it. Why from a narrative perspective is Phil chosen to go and saves his sons? Well I guess it’s because that’s what fathers do, while mothers fall into a hysterical state…


Finally, let’s discuss Gabbie. Gabbie is an 18-year-old woman currently studying in California. We have already discussed Gabbie’s financial situation so we won’t do it any further here. There are a lot of things done properly with Gabbie: a subversion of the spoiled rich girl trope, a good relationship with her step-mother, a positive treatment of the rape attempt she suffers, and a positive depiction of her sexuality. Still, no character infuriates me as much as Gabbie.

Gabbie has two important arcs that are connected: her love story with Jack and her relation with her mother. You see, Gabbie’s mother married Phil young. They had a bad year professionally and Gabbie’s mother also broke with her family, who didn’t approve of her lifestyle (she was disinherited). Then Gabbie was born and her mother changed her profession to journalism, more precisely to be a war reporter. She then decided that her career was more important than her daughter and husband, leading to her leaving Phil and not taking care of Gabbie. Here I must emphasize that Phil also put his career before his daughter and Gabbie was left to her maternal grandmother, who raised her.

Now that her grandmother is dead and she is an adult, Gabbie has bonded with her father but not with her mother. Partially because her mother, too caught up in her career and in her importance for the “American left” (yes, that phrase in the book; take it as you want because I really don’t know what I am supposed to do with it), hasn’t extended any hand for her daughter to grab. Therefore, Gabbie’s arc deals a lot with her coming to terms with her insignificance to her mother.

This is once again an incredibly important narrative to explore. Once again, it’s a gigantic wasted opportunity. The career of Gabbie’s mother is constantly denigrated by the book. Her principals and ideologies are ridiculed when Gabbie learns that her mother is to marry a French millionaire (who is also a pedophile since he hit on Gabbie when she was 15) that she should normally hate if if she wasn’t a total hypocrite. As a consequence, Gabbie has no trouble with and no regret leaving at her mother behind her since she is irredeemable. Indeed, none of the reasons Gabbie’s mother had to abandon her daughter have any sort of value. (Note that Phil, who also left his daughter behind for his career, has to be a decent human being to be allowed back in her life with open arms.)

Therefore Gabbie has no trouble to make the decisions she ends up making. She decides to marry a man she has known for 5 months (her first sexual partner if I might add). He is an aspiring writer being tutored in college by the same tutor as Phil. She also decide to stop her studies for now. Does she have a better idea of who she wants to be as a person, except than being Jack’s wife? No, but I guess it’s okay because she is going to be someone’s wife; what else could she aspire to be? In the end, Gabbie rushes into marriage without knowing who she is, with a man who is a younger version of her father (yes, Jack even admires Phil). She is making exactly the same choices her mother did, but she’ll be fine because she is being a good sport about it, unlike her mother.

I can’t even begin to explain how much I despise this narrative. Even if it hasn’t directly touched me, the idea of coming to term with one’s insignificance to one’s mother is something that has influenced a lot of people I love in my family. I can guarantee you that it’s not fixed by making all the same choices as your mother but not being a total hypocrite about it. People are complex, yes, even people who abandon their children. They can’t be summarized by using two overused cliches, and the impact they had on you can’t be brushed aside by simply reducing them to these overused cliches. Besides, do I have a to explain why I find it distasteful to see a woman bloom in domestic bliss when her mother is vilified and mocked for pursuing a career? No? Great!

The Twins

The twins, Sean and Patrick, are the saving grace of Faerie Tale. Not only are they the more connected to the fairy court, they have the most interesting progression as characters. More Patrick than Sean but still. Patrick is a shy little boy that ends up finding the courage to save his brother. Sean learns that he can rely on his ‘weaker’ brother and shouldn’t lash out at him because they both have strengths and weaknesses. By teaming up, they save the world, kill the villain, and free their perverted double. And of course for all of that, they are graced by the capacity of remembering what happened.

All in all, the twins’ story is a well-crafted, interesting storyline. I just wish I didn’t have to suffer the rest while reading Faerie Tale.


As you have probably gathered by now, I didn’t really enjoy my read. But while thinking back on Faerie Tale, I came to the realization that I might be part of the problem. Raymond E. Feist is an incredibly popular author. The last time I went to a bookstore, one of his new works was heavily advertised (I mean, as much as a fantasy book can be in France). I don’t doubt that he has great qualities as an author.

A quality he can’t have though is creating a book that pleases the taste of a public that will be born 8 years after its original publication and will only read it 30 years later. Nothing is ever perfect, and age is never tender. Trust me on this, even fine wine that isn’t properly preserved ages poorly. This doesn’t absolve Faerie Tale of its mistakes. But I must be honest.

When it was first published in 1988, Faerie Tale might have been an above average book. It might have introduced a new concept: a sort of gothic horror based on fairy tales taking place in our time and adding an ‘international context’ to it. But everything I saw Faerie Tale trying to do, I have seen done better in other books since then. Time has been cruel to Faerie Tale, and, unfortunately, I paid good money to discover that.

Image Courtesy of Doubleday

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Avatar, Spirits, and Spirituality





Here on The Fandomentals we like to talk about Avatar: the Last Airbender (ATLA) and its sequel, Avatar: the Legend of Korra (LoK). But while many of us have talked about the strides the franchise has made in LGBT representation, its portrayal of a mental healing and recovery, complicated family dynamics or deconstruction of the superman narrative, I would instead talk about something that has concerned me ever since I saw the second season of Legend of Korra: spirits. After all these years, it’s time to finally put my concerns into words. And I will unfortunately continue to be the resident malcontent when it comes to the show.

To start with, let me lay down some groundwork and my central thesis. See, there’s two ways that the word “spirituality” is used in the franchise. One is the meaning we associate with it in the real world – concerned with immaterial things rather than material ones, inward-looking, meditative, contemplative. The other is the setting-specific meaning of being connected with the spirits and their world. But here’s the rub – the spirits aren’t actually very spiritual. Why do I say that? Let’s begin…

Avatar: the Last Airbender

Spirits certainly exist in the world the original show portrays, but they only sometimes play any major role – the biggest is perhaps the Book One finale. They’ve got their own worlds, but they also have a rather vague relationship with nature. In “Winter Solstice” we see a spirit named Hei Bai go mad after humans devastated a forest.

Vague it may be, it’s also significant, as we find out during “Siege of the North”. Zhao killing the Moon Spirit causes the moon itself to grow red and waterbending to stop working. If Yue hadn’t become a new Moon Spirit, presumably it would have become even worse from there.

In the same finale we also meet Koh the Face-Stealer, a spirit whose brief appearance nonetheless made him memorable. Just as his name implies, he steals faces, and the only defense is to maintain an entirely neutral, emotionless expression. This is the kind of thing that spirit stories tend to run on, after all – taboos and specific behavior that protect you from malevolent spirits. He was genuinely creepy and threatening in what little we saw of him.

The other spirit who plays a major role is Wan Shi Tong, the cranky owl who runs the spirit library. He accuses humans of always trying to use his knowledge for their own brutal ends. In his defense, Zhao used the library to find out about the Moon Spirit’s physical form, and we know how that ended up.

The Painted Lady only appears very briefly, after the rest of the episode might make us suspect she doesn’t actually exist. Like Hei Bai and the Moon and Ocean spirits, she has a connection to the natural environment, in this case her lake.

The show’s finale involves Aang receiving energy-bending from a Lion-Turtle, but… are they spirits? It’s kind of ambiguous what they are, what they aren’t and what they want. Still, they clearly do have some spiritual connections and they allow Aang to resolve the conflict without compromising his beliefs… even though the way they do it leaves something to be desired.

Spirits are, in general, the more outwardly “magical” element of the world in Avatar: The Last Airbender. Bending is by design rather predictable and we generally know what works and what doesn’t by the time we’ve seen half of the first season. Spirits introduce stranger and more fantastical things with them when they appear, but they’re not particularly central.

Legend of Korra Book One

The first book of the sequel contains no spirits. Amon says that they sent him to bring balance to the world, but he’s lying. So none of them appear or do anything. However, the word “spiritual” crops up frequently, mostly in terms of Korra’s lack of this trait. But why is she lacking in it and why is it a problem?

Well… that’s a good question, actually. “Not spiritual enough” seems to be a catch-all term for Korra’s struggles with airbending, connecting to her past lives, entering the Avatar State and her general combative attitude that focused on fighting and bending rather than the Avatar’s duties as a leader. Basically, every character flaw and struggle the show outlines for her.

Unfortunately, as we know, none of it really goes anywhere. Korra receives her vision from Aang long after it ceases to be useful, her airbending comes to her when Mako is in danger and she connects to her “spiritual side” because she’s depressed. This moment is just the first of many where the word “spiritual” is thrown around without any meaning. She became more “spiritual” in the sense that she got access to all her Avatar powers, but she gained no spirituality in the other sense of the word.

Sadly enough, you can see some ultimately unused plot hooks in this story. Korra receives her first incomplete vision of Yakone’s trial after Amon knocks her out during their “premature” confrontation. She receives her second vision after Tarrlok bloodbends her into unconsciousness and the final, complete one when he holds her hostage. It seems clear that Amon also used bloodbending on her, but subtly and maybe in combination with chi-blocking. Thus opening a way for Korra to figure it out on her own. But that was not to be and instead all the relevant information came from Tarrlok’s exposition dump.

But let’s not dwell on it too much. Instead, let’s move on to the second season, where spirits come to the fore.

Legend of Korra Book Two

And they do so in style, by attacking right in the first episode. The dark spirits prove difficult for even strong benders like Korra, Tonraq, and Tenzin to handle. Non-benders are entirely helpless, even though we saw Sokka best Wan Shi Tong with a heavy book and gravity. This is in keeping with LoK’s treatment of non-benders, really. We also find out there’s some tensions between spirits and humans and that corrupt spirits attack more and more often.

Either way, Korra’s uncle, Chief “I’m not a villain, I swear” Unalaq pacifies the spirit with a waterbending technique. Korra is impressed and wants to learn from him, since she feels she’s not spiritual enough to be the Avatar and a bridge between worlds. Sensible, one might think, and a logical progression. And yet… something doesn’t add up.

It once again comes down to the issue of spirituality and actual spirits. Unalaq complains about how the Southern Water Tribe turned their spirit festival into a festival of commerce. Which sounds plausible on the surface. He’s a crusty old traditionalist, of course he’ll complain about it. But what do the sprits even care? It’s not as if they have any concept of economy. As long as humans don’t go around destroying the environment or infringing on “spiritual” places (not that we know what makes a place qualify as such), they seem to be indifferent. Korra’s father, Tonraq, got on their bad side by doing the latter.

I feel like the show sort of expects us to take it as face value – they call it spiritual, so obviously spirits should care, right? But real-world religions give a reason why the spirits or deities they believe in care about the ceremonies and rituals. Here, we see no such reason.

As I mentioned at the beginning, ATLA got around spirits by being pretty vague about them. They do spirit-y things, they get angry if humans mess around with things they shouldn’t, they have a connection to nature… in the end, they’re not what’s important. But the second season of Legend of Korra puts them front and centre and makes them tangible… well not literally tangible, but much more real and relevant.

It doesn’t exactly get better when it turns out that Unalaq– who is absolutely not a villain, trust him on that– arranged for Tonraq to destroy a spirit-grove in the first place. Later on, it further turns out that he’s working with the spirit of darkness. It’s the two of them together that are responsible for the dark spirits attacking people. Which means… there’s no actual tension between humans and spirits, no crisis of spirituality or anything of the sort. Just two bad guys doing bad guy things.

Or… not exactly. After Unalaq spent many episodes doing various terrible deeds, and competing with Hiroshi for the title of the franchise’s second-worst father, he asks Korra if Avatar Wan had done the right thing when he separated the worlds. So it suddenly becomes a question we’re meant to care about. The relations between spirits and humans become an actual topic rather than just Vaatu being a big evil kite. But this happens right before the finale, so there’s not much time to talk about it.

As we know, Korra agrees. Why? Good question. The decision to keep the portals open gave her agency that the Book One finale had never given her. Her becoming the first Avatar of a new age is also appropriate. But as far as motivations and sense go… well, it has none. Which brings me to the second massive problem with the spirits in the show, and requires me to start at the “Beginnings”.

In the two-parter we see humans and spirits living in the same world. Or rather, humans surviving seemingly thanks to the protection of the Lion-Turtles. Everything beyond the four settlements huddling on their shells is a hostile jungle full of spirits who won’t give them an inch. We see proto-firebenders go out to hunt using their power. Again, the only reason they can do even that is because the Lion-Turtles help them. Why? Like I’ve said a few times already, good question. But one we have no answer for.

When Wan is exiled from his town and ventures into the wilds, he earns the spirits’ trust by not eating a gazelle he encounters. Which… well, I suppose gets us into the whole argument about whether or not it’s moral to eat meat. But still, he had to risk starvation for them to give him a chance? This starts the general trend in which it’s humans who have to put all the effort into harmony between the two species.

We do later see that there was a tribe of proto-airbenders who live in harmony with the spirits. But how? Once again… good question, no answer. There’s really nothing here except a vague feel-good “spirits are great” message.

After Wan accidentally frees Vaatu, he later fuses with Raava permanently to fight him, becoming the first Avatar. He seals Vaatu into a tree and decides to forever separate the world. Which… isn’t a perfect solution, perhaps, but certainly looked better than what was, at best, a perpetual war. At worst, it was spirits oppressing and bullying humans. So why are we supposed to believe that this wasn’t the right choice and that the one Korra made was right?

Aside from the spirits’ behavior, there’s still the major disconnects between them and being “spiritual”. We still don’t really know what it means. Yes, Korra is woefully unequipped to deal with spirits. But that’s just part of her general immaturity and rashness at this stage of her character arc.

Tenzin, her mentor, is however also unable to mediate into the Spirit World. For… some reason. It seems connected to his general psychological turmoil and massive pressure he’s under to live up to his father’s expectations. The Spirit World is governed by human emotion, so I suppose it would make sense.

While the inability to enter the Spirit World this way is yet another failure dropped on the large pile of Tenzin’s issues, his daughter Jinora can do it. Once again, we don’t really know why Tenzin can’t do it, but she can. All we get is that, you guessed it, she’s more spiritual. Except we still don’t know what that means and why being spiritual is even of any concern.

I’m also not entirely sure why only benders seem able to enter the Spirit World through meditation. If we accept that it requires peace of mind, concentration and inner balance, non-benders are as capable of them all as benders are.

When Korra actually enters the Spirit World, it turns out to be a realm where reality is something of a subjective matter. Human emotions affect it, particularly those of the Avatar. It more or less adds up, is visually interesting and makes some intuitive sense. Still, I’m not sure how much it adds up with the spirits’ connection to the environment that we saw in ATLA.

We also see Iroh in the Spirit World, which raises the question of whether human souls end up there after death. We know the Avatar reincarnates into new bodies every time, but what about everyone else? Maybe Iroh was special – “spiritual” enough to transcend into the Spirit World after death.

This kind of exemplifies the problem I’m talking about here. Yes, Iroh was spiritual in ATLA, in the more conventional sense of the word. There were some hints that he’d travelled to the Spirit World, but for the most part his spirituality was very down-to-earth. He told Zuko to look at what’s in front of him and think about what he wants, instead of chasing some lofty destiny someone else had imagined for him.

The wisdom of spirit-Iroh in Legend of Korra feels a lot like platitudes. Light, dark, staying true to yourself and all that. There’s just not much to it. His earthly wisdom and vague mentions of having had dealings with spirits are turned into some sort of deep connection to the spirits. Which allowed him to effectively become one.

What it adds up to is that the season tries to build up to Korra keeping the portal open, but the attempts just don’t work together. We don’t have a clear idea of what the relationship between humans and spirits should be. Korra’s decision feels like a big plunge for no good reason.

Legend of Korra Books Three and Four

The first episodes of Book Three deal with the consequences of the worlds reuniting. Korra spends a lot of time trying to contain the spirit-vines growing in Republic City, with the help of her friends. And the spirits… well, they don’t do a thing about it except yell at Korra, as if Raiko and the press weren’t enough. It seems that, once again, it falls to humans to work for harmony and peace, while the spirits are just going to complain about everything they do.

The spirits themselves take a backseat as Korra has to contend with the Red Lotus, so she never gets the chance to properly solve the problem. Which instead happens off-screen – we find out that in the period between Books Three and Four, while Korra was recovering from the horrific beating she took from the Red Lotus, Republic City integrated the Spirit Wilds. We see no real evidence of the spirits doing anything to help here, but at least they didn’t get in the way, I suppose?

Still, when Korra goes to ask for their help with Kuvira, she gets the cold shoulder. Kuriva is abusing the spirit vines to power her weapon and she’s invading the city where spirits and humans live together. But what do the spirits say? They’re not going to help, since they don’t interfere with human matters. But aren’t spirits and humans supposed to live together now, so there’s no “human matters” and “spirit matters” anymore? The worlds are back together and they’re all in it together, aren’t they?

I feel like it’s pretty common that whenever humans and more supernatural beings are in conflict in stories, the pressure is on humans to do something about and find common ground. The others, in this case spirits, are seemingly allowed to be aloof or outright hostile instead.

And of course it bears mentioning that humans have a lot more to fear from spirits than the other way around. They can hurt humans in many ways, while humans struggle to retaliate or attack. The biggest danger spirits seem to suffer from humans is their tendency to twist and corrupt when around humans who feel strong negative emotions.

To bring it all to the central point, I think the treatment of spirits in the Avatar franchise is one of the cases where a previously vague and ambiguous element gets more attention. Which doesn’t serve it well. Legend of Korra seems to expect us to take a lot at face value. It’s a lot of talk about spirits, spirituality, change and harmony without a whole lot to back it up. I got the distinct impression the show just skips over it all so we don’t have time to think about it too hard.

Images courtesy of Viacom

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Suspension of Disbelief, Representation, and You



Suspension of disbelief is a key element for fictional stories to work. This is our willingness to believe something surreal, that goes against logic or reason or the way we know the world works. It’s the act of suppressing our criticism for the sake of enjoyment and immersion, if you will.

We know that a bite from a radioactive spider won’t give people superpowers. We know there isn’t a secret wizarding world right under our noses. We know mechas shouldn’t be piloted by angsty teenagers. Actually, we know mechas aren’t even a thing. Our willing suspension of disbelief is what allows us to ignore all this knowledge and be carried away by the narrative. It’s our brains saying what if.

Speculative fiction in particular wouldn’t work without this, because it plays with elements distant from our reality. There are entirely invented worlds, or technology that humanity is far from developing. We have zombie apocalypses, alien invasions, time travel, alternative realities, monsters, and magic. It’s not that we don’t know those things aren’t real, we just want to see a story in which they are.

Opening our hearts and minds to the universe presented by the creators is our counterpart, as audiences, to allow stories to touch us. We need this to be fully invested in them, and that emotional engagement is when stories matter.

When there’s friction in your fiction

This doesn’t mean, of course, that we’re willing to accept everything. If the audience’s job is to be open to the impossible, the creator’s job is to make the impossible seem plausible. Stories don’t need to be realistic but they need to be internally consistent in their setting, characters, or plot.

If you establish your fictional society as heavily patriarchal, you cannot expect us to believe that a female character could be sassy without social consequences. When your character is commanding a fleet, that fleet cannot simply show up on the other side of the world a day later. You can’t have a character being stabbed in the guts and dumped into a dirty canal, then soon parkouring around the city and fighting as if nothing has happened. And yes, these are all the same show.

When creators break the rules they set for their stories, our suspension of disbelief breaks as well. Just as it’s not fun to play a game with someone who cheats, it’s hard to be invested in a story when we can’t follow its internal logic. Thus, we’re less engaged and we trust the creator a little less.

What makes or breaks the suspension of disbelief will depend on the audience. A good example is when creators mess with specific knowledge that most people don’t have, but experts in the field will find hard to ignore. It’s simply easier to suspend your disbelief when you don’t know enough about a topic to dispute it.

People also have different levels of tolerance to absurdity and inconsistency. To continue with Game of Thrones example, for us at the Fandomentals the show has defied logic for years, but for a good part of the audience it took a character gumbo and their unlikely quest to raise eyebrows. There’s no right or wrong answer in those cases, since we’re all different. If the story still works for you, then it still works.

It’s worth questioning, however, what breaks our suspension of disbelief and why.

I want to believe

Follow fandom discussion for long enough and you’ll notice that sometimes what breaks suspension of disbelief for audiences is the presence of certain characters in the story, particularly when they belong to socially marginalized groups. Why would the agency or protagonism of these characters bother our immersion more than all the absurds we buy into when consuming fiction?

Cast an actor of color for a period drama and you’ll hear people complaining about “historical accuracy.” Have a mostly female cast in your story and you’ll be accused of being “politically correct.” Write multiple LGBT+ characters and people will cry there’s “too much diversity.” The list could go on, but this diversity happens in real life and it’s actually much more realistic than your typical homogenous cast. Then why you can always count on part of the audience to look at it with incredulity?

In the past I’ve complained about gratuitous sexual violence in stories, especially when used as a shortcut for “gritty historical realism” in fantasy. This complaint is sometimes met with “that’s how it was back then;” people that defend the decision because it supposedly adds realism and credibility to the story. Wait, so you can believe in dragons or ice zombies, but that one rape scene “had to happen” because otherwise “it would have been too unrealistic”? I’m sorry, I just don’t get the metric for realism here.

Perhaps the easiest example for this relative suspension of disbelief would be Mary Sues. There’s a lot of debate on the validity of the term and this deserves its own separate piece, but we can all agree that a Mary Sue is the type of character that forces our suspension of disbelief. So why is this label often used to undermine competent female characters when we would be a lot more forgiving with a male counterpart? Star Wars is a great example of that, because since the release of The Force Awakens audiences have accused Rey of being a Mary Sue. Have you ever seen Luke or Anakin being called Mary Sues? I haven’t, even though their abilities were much more of an asspull than Rey’s. Then why is Rey the one breaking the audience’s suspension of disbelief?

Why do those examples threaten our suspension of disbelief? Why is it so hard for us to simply accept these characters as part of the story, to extend them the same open mind we would to others? If we can’t conceive a fictional society that is diverse or accepting, then maybe the problem lies in our imagination.

It would be tempting to say that this happens because people are sexist, racist, homophobic, etc. To be fair, that’s true for a good portion of the audience that has these reactions. But I think there’s more to it as well: we’re too used to be sold a single narrative, and we’re too used to buying it.

We have come to naturalize certain actions, or characters, or beliefs. Now, when we find a story that goes against what we internalized, that story hurts our suspension of disbelief. In a way, it’s easier to believe in elements clearly distant from our reality, like hobbits, evil robots, or superheroes, than to go against a social narrative we’ve been taught since a very young age.

Yet we have to do exactly that. When something breaks our suspension of disbelief, we have to ask ourselves why. Why is this, of all things I’m being asked to believe, the thing that bothers me? Does it make sense for this particular setting that this specific group is being oppressed? Is this an interesting story to tell or consume? If I changed the race, gender, orientation, etc. of this character, would they still feel unrealistic? Does my belief belong in the 19th century and should I send it back there?

We may not be responsible for the narratives that are created, but we are responsible for examining how we interact with them. This is key for demanding better stories and for engaging with stories that challenge our world views. Especially when said views are in dire need of being challenged.

Image Courtesy of Disney and Lucasfilm

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