Week 4: Attebery Defines Fantasy

Attebery (1980) cites that fantasy “presupposes a view of exterior reality which it goes on to contradict”.  The reader’s own world should be completely and utterly contradicted, turned upside down and challenged. 

Fantasy makes no attempt to reconcile its storyline, characters and themes “with our intellectual understanding or the workings of the world or to make us believe that such things could under any circumstances come true” (Attebery, 1980).   By using fantastical characters, themes and events, a fantasy writer almost categorically declares that the storyline will be an incredible fabrication.  Therefore the reader’s mind is immediately set up for an unfathomable reality and he can enjoy the pleasurable escape to another world far removed from his own.

Attebery (1980) cites that fantasy “can involve beings whose existence we know to be impossible” and revolve around “attributes inanimate objects do not, in our experience, possess”.  An example of this could be Le Guin’s A Wizard of Earthsea, a story of wizardry, dragons, a living shadow, and magical events set in a fabricated land.  To the reader, these may seem difficult to consolidate with our Earth, however this is the genre of fantasy, where extraordinary characters collide on the storyline with incredible events.

 “Fantasy needs consistency.  Reader and writer are committed to maintaining the illusion for the entire course of the fiction” (Attebery, 1980).  That is to say, the storyline must have real meaning to the reader and follow a credible course where each event relates to each other, so that the reader does not lose the thread and become detached from the storyline.  The author must grip the reader in a state of wonderment at the world he is wrapped up in. 

Attebery (1980) cites Bettelheim (1977) on Grimm fairytales (fairytales are a sub-genre of fantasy) “each fairy tale is a magic mirror which reflects some aspects of our inner world”. That is to say, the reader needs to be able to draw some social aspect from the real world in order to follow and comprehend the complexity of and reasoning behind the storyline in its entirety.  

For example, it is only upon completion of A Wizard of Earthsea that Ged’s journey of wizardry and magical quest to find and confront the shadow turns out to be his own personal journey through adolescence to manhood, and by facing the shadow Ged has become a man.  As each chapter unfolds from the printed primary text, the reader is left aching to find out more about his quest.  In conclusion, the reader realizes that Ged’s quest has been all about his journey through adolescence to manhood and is retrospectively enlightened by the subtext of the completed story.   Ged was “weeping like a boy” and his friend Vetch watching on sees that Ged “had neither lost nor won but, naming the shadow of his death with his own name, had made himself whole: a man: who, knowing his whole true self, cannot be used or possessed by any power other than himself”.  (Le Guin , 1993)

The fantasy carries the theme (in Le Guin's case, the journey of adolescence to manhood). 

The key to fantasy is the quest that becomes the journey’s end.

References:

Attebery, B. (1980). The Fantasy Tradition in American Literature: From Irving to Le Guin. Bloomington: Indiana University Press, 1980, 1-10

Le Guin, U. (1993). The Earthsea Quartet. London, England: Penguin Books Ltd.

Bettelheim, B. (1977). The Uses of Enchantment: The Meaning and Importance of Fairy Tales (p309).  New York: Vintage Books 

Fantasy Archetypes.

What are some archetypes (e.g. common character types) of fantasy fiction?

The Fantasy genre, for the most part, cites all the archetypes suggested by Vogler – The Hero, The Shadow, The Herald, The Mentor, The Shapeshifter, The Trickster, and The Threshold Guardian.

In most fantasy stories, one could find each of the character archetypes, some being represented in individual characters, multiple in one character, or one archetype in multiple characters, though the former is the most common.

To show this, I will look at 3 of the most popular contempory texts of the general fantasy genre: J.K . Rowling’s Harry Potter, J. R. R. Tolkien’s The Lord of the Rings, and George R.R. Martin’s A Song of Fire and Ice series (A Game of Thrones).

In the first text, Harry Potter, obviously, the “Hero” or protagonist character is played by Harry, he is the main character of the story, whom the reader’s relate to and root for throughout. “[They] embody our most aspirational values and put higher duty and the welfare of others before their own, even to extreme forms of self-sacrifice.” This is true of Harry, he is selfless to the point of recklessness, noble and brave – perhaps unrealistically so, but that’s what makes a great hero in the eyes of the audience.

The “Shadow” Character is portrayed by Lord Voldemort, who is basically the complete opposite of Harry, despite the inner turmoil Harry faces upon realizing there are similiarities between himself and Tom Riddle. All Harry’s major moves and turning points are fuelled by Voldemort – it is essential to the story of the hero that there is a Shadow character, whether it be a physical threat, or an internal emotional one.

The “Herald” is the character which brings the news which incites the first turning point of the story, the incident of change which then triggers the events which unfold thereafter. In the Potter series, the initial Herald is the character of Rubeus Hagrid, who coins the line “yer a wizard ‘Arry” in the first book. Throughout the story, Hagrid also gives the trio news and points them in the right direction, think his classic line “I shouldn’t’ve told yer that, I really shouldn’t’ve told yer that.” For example he tells them about Fluffy and the trap door, as well as his other actions being crucial to the plot’s advance.

The “Mentor” character, obviously is Dumbledore, nobody could doubt that, to the point I really don’t think I need say more.

There are multiple “Threshold Guardians” throughout the story – things that stand in the way of the Hero facing a challenge or the Shadow – The first example would be of Fluffy and the trapdoor as I previously mentioned.

The “Shapeshifter” is “represents uncertainty and change, reminding us that not all is as it seems. They may be a character who keeps changing sides or whose allegiance is uncertain.” – and I would say there are 3 major Shapeshifters in the story. The first being Remus Lupin, because he is a warewolf, literally a Shapeshifting enity, secondly, Siris Black, because he is an animagus (though there are other animagi in the story such as Prof. Mcgonagall) and also because he is firstly portrayed as a killer and as evil, but turns out to be Harry’s kind Godfather. And lastly, the major Shapeshifting character, whom is not a physical shifter, would be Severus Snape. Because he is never quite what he appears, and the audience is never quite sure until his demise where is alliance truly lies, though it ends up being with Harry all along.

The “Trickster” provides comic relief, and entertainment throughout to lighten the darker passages or themes of a story. There are several Trickster characters, the most predominant being Ron Weasely, as well as more obviously and less often presented, perhaps because they are just too ridiculous to be constantly involved, are Ron’s older brothers Fred and George.

For Lord of the Rings, the Hero character is played by Frodo, The Shadow by the Ring and Sauron. The Mentor is Gandalf, as well as the Herald. The Tricksters are Merry and Pipin of course, and the Shapeshifter is Gollum/Smeagol, and while there are many Threshold Guardians, I would say the Balrog would be one of the more main ones (“You shall not pass!” monster.)

In Martin’s A Song of Fire and Ice, things become a little harder, due the shifting point of view, etc. Each character is the Hero of their own story, even if they are the Shadow of another’s. For Example, Cercei Lanister (as well as basically her whole family) is the Shadow of say, Catlyn Stark’s story (and Rob’s. And the rest of the characters competing for the Iron Throne.)

Again, it’s hard to place a Herald, but one could say that the ravens are the Herald(s) because they are used in the same way courier pigeons have been in the past, and most news which is brought from external sources outside of the POV character’s environment come from the ravens baring letters/notes.

Each character has his or her own mentor, though more often than not it isn’t obvious. An example would be Arya’s teacher-student relationship in book 1 with Syrio Forel, her dancing master, and Sansa’s with her Septa, and later her idealistic view of Cercei to an extent for while. Jon with his father, and later at the Wall with Joer Mormont. Bran with maester Luwin and his father. The adult characters are much harder to interoperate, but each is changed by a relationship with another character – Tyrion and Bron, as well as Shae; Dany and Drogo; Eddard and Robert, as well as Petyr and Varys; Davos and Stannis; Brianne and Catelyn; Cercei and Jamie, etc, etc.

There are many Tricksters throughout, but the major character would be Tyrion and his wit. There are multiple Shapeshifters too, such as Petyr/”Littlefinger” who’s alliance lies never where it quite appears to.

Each character has their Threshold Guardians, like Dany’s being the Dothraki sea she must cross to get home.

While not all Archetypes are always present or immediately apparent, they play a huge role in the fantasy genre, as illustrated above.



References:

Martin, George R.R. (1996). A Game of Thrones.
Bantam Books: New York.

Rowling, J.K. (1997). Harry Potter and The Philosopher’s Stone.
Bloomsbury: London.

Tolken, J.R.R. (1954). The Lord of the Rings: The Fellowship of the Ring.
Unwin Paperbacks: London.

Vogler’s Archetypes (n.d).
http://changingminds.org/disciplines/storytelling/characters/vogler_archetypes.htm

Week Two: Tintin and Comics

Hey guys, sorry I haven't posted till now, I haven't had a reliable internet connection :\ So here's my stuff for weeks 1 and 2.

Do you think comics are a children's or adult genre/media?

I strongly feel this depends on both the content and the individual. For example, some comics are clearly aimed at a younger audience, perhaps between ages 7-10+, others hold a content which may not be considered suitable for younger audiences, or may have symbolism or vocabulary not easily understood by younger audiences. Just as one could say that not all cartoons are aimed at a particular age bracket. Some can be enjoyed by both young children, teenagers, and adults, I'm sure. Take for example the many and varied Marvel and DC comic series, enjoyed the world over by all ages. I also think it depends on the individual, their personal taste, education, interests, etc. For example, last year I studied 3D animation, and in doing so, I saw many animated children's films, and I was surrounded by people who could enjoy them too. We did not only watch them to study the art, but also because we could enjoy the movies, despite the fact they were for younger people. In this situation, environment plays a key role, because a person can be influenced by their environment, for example I felt the need to watch these pieces because they were related to what I was studying and surrounded by, and I was also being told they were good films, and there was no stigma around this, where there probably would be outside of the situation. So I think a person could be influenced by this too. If they are criticized for reading comics because they are "for kids" then depending on the individual this could change their opinion or whatever. If they were studying to become an illustrator for example in an unrelated field, they may pick up comic book reading as first a study, then out of shear enjoyment. I truly think it varies, but I certainly don't feel they are either for children or adults, and can be enjoyed regardless of any other contributing factors.



How does Farr (1991) justify Tintin's appeal to adults?

In the two following quotes, I will summarise my ideas of ways in which these extracts could or can appeal to "adults" in terms of Tintin, and also Hergé himself as the author, because of course the article is about Hergé and Tintin as an extension of Hergé, and I see Tintin and his exploits as a vehicle for Hergé to communicate his values and ideologies through. While not all of these were pleasant, for example his racism which was highly acceptable and common in the day, he has universally recognisable likeable qualities which therefore rub off onto the Tintin character and his adventures.

“highly gifted illustrator with a vivid, child-like imagination and a deep curiosity in the world around him. He may have aspired to be a dashing foreign correspondent when he started at Le XXe Siecle, a Belgian catholic daily, as a general dog’s body. But very soon his talent as an illustrator became apparent, he was put to work drawing for different parts of the newspaper…”

• Appeals to the nostalgia in the adult in mentioning his retained child-like imagination – something that often is lost as we get older, so produces an admiration as well as a sub-conscious envy. Hergé retained something that is generally lost on most others. This makes him quite unique – another quality we all wish to have. This same nostalgia, depending on the reader, could be pushed on to Tintin comics, and memories of reading them as a child, enthralled and the, now lost, childhood imagination whirring.

• Similarities between Tintin and Hergé, in their curiousity and child-like qualities, thus the reader, if they are firmilar with Tintin comics, will subconsciously identify Hergé as being Tintin. Hergé's likable qualities become Tintin's likable qualities, and Tintin is seen as being a character with only likable qualities, so while no negativity is brought to light, Hergé is too.

• Also appeals to reality, while subjective, it is still universal. Everyone has dreams, but reality often prevents their ambitions from being realised. Hergé is portrayed as wanting to be a renowned reporter, but could only get a job as a “general dogs body,” a cog in the works, etc. adults can identify with this, as feelings of obsoleteness in a large work place are common. However, Hergé got what is fantasised about too often, he was discovered for something he was naturally brilliant at, and was given further opportunities as a result. He excelled, and was recognised for his natural talent. Again, another feature we wish to identify with.

“rather than becoming a reporter himself, circumstances led Hergé to create one that was to become better known than any. Instead of being dispatched to chronicle world events and upheavals, he sent Tintin Hergé, meanwhile remed an extraordinarily well informed armchair traveller until much later in life, when Tintin having completed most of his travels, he himself embarked on a series of trips abroad.”

• Created something that was more successful than any other of it’s class could be (reporter) – reflects on creation, talent, success of own children? Being the best, if not better.

• The universal want to travel, to explore and see the world, - Hergé did this from the comfort of home (“armchair traveller”)

• He then does have the ability to travel to far reaches of the world, assumably due to his success, an enviable accomplishment, which hinges on the mentioned universal yearning to explore our world.

According to the second Farr extract (p.50-59), how did Hergé research China for The Blue Lotus?

Initially, Hergé portrayed the Chinese as cruel, ponytail-sporting, beady-eyed, inhuman creatures in his Tintin adventure Tintin in the Land of the Soviets which was published in 1930. His twisted image of the race was born from the common stereotype of the day spawn from the Boxer Uprising, and through things such as newspaper cuttings, which were subject to this also.

It was only through a chance meeting that Hergé realised that the Chinese were not all he had made them out to be. Belgium missionaries had made their way into China, and some of those they had reached had decided to immigrate to Belgium to further their studies. A local Brussels priest, Father Gosset, wrote to Hergé four years after the publishing of Land of the Soviets and asked him not to judge too quickly, and to perhaps further his research through actually meeting a Chinese person.

It was his perfectionism and curiosity that led Hergé to his meeting of Chang Chong-Chen soon after, and the two became fast friends. Chang was a student of the local university, an artist like Hergé, studying sculpture, and the two also happened to be the same age. Chang told him of what China was really like, and Hergé was fascinated. He eagerly absorbed all that Chang had to teach him of China, from it's landscape and architecture, rich culture and history, and it's beautiful art. Hergé soon learned that everything he had been told of the foreign land and it's people prior to his new friendship was wrong, and that they were definitely not all cruel torturers.

A true love and yearning to learn all he could of this country was sparked within Hergé by Chang, a fascination and a friendship which would last a lifetime. Hergé felt a need to correct his wrongs, and also those of the popular opinion. He set out to document all he could of the true China, avidly sketching people and land, and even used Chinese script in the Blue Lotus.

And so Tintin and the Blue Lotus was published, in 1936, only two years after meeting Chang. It took on true political events of the day, between the Japanese and Chinese, such as the Mukden Incident of 1931, and the following Japanese invasion. And so it is, that Hergé pushed his stereotypes onto the Japanese, rather than the Chinese, and that every Chinese character Tintin encounters from there on out, is kind, Europeanised, and free of any previous stereotype, and all Japanese encountered are cruel, inhuman, brewing poisons, and conniving.

Does Varnum (2001) define the difference between a cartoon, comics, and graphic novel?

Varnum and Gibbons, do not define a clear, rigid line between these medium. They speak of the relationship that can be cited in these genres, which cannot be found in the same manner in any other contemporary genre. They lump together comics, graphic novels, comic strips, single panels, and wordless comics and "various other kinds of visual texts" into a single literary family, whilst admitting that none of the members necessarily "share one feature in common with all the others, but any two share common features."

One example of abstract family relation this is the wordless comics of the 1930's which they mention. Due to the lack of captioning, the drawing is symbolic and richly suggestive, using textual signs to communicate certain messages which would otherwise be communicated with written text. Wordless comics still use "picture reading" in the same way a comic strip, single panel, comic book or graphic novel would, in the same way which in these genres the illustrations substitute some of the written exposition or text in comparison to an imageless novel or book.

Another example of this genre's relation to other family members, is the example given is of the classic Warner Brothers' cartoon, Wile E. Coyote and the Road Runner, in which "images are more persuasive than words" just as they are in wordless comics, or arguably in any of the other family members. While it is true that music is used in these cartoons, perhaps in the place of dialogue in ways, and this sets it apart from wordless comics, the concentration is undoubtedly on the image and the highly expressive characters which convey emotions, of anger, excitement, joy, amusement, frustration, pain, playfulness, and so on, which viewers can still connect with and identify based on personal experience, making all dialogue that could be inserted obsolete. The dialogue is written in the body language, expressions and actions of the characters, just as it is in wordless comics.

Through this, and many other possible examples which could be given, we can see what Varnum and Gibbons mean when they say that all the members of the "comic" family are just as similar as they are different, and all involve deep and sophisticated picture reading to some extent.

According to Varnum, what distinguishes comics from other media?

Varnum and Gibbons say that comics blend imagery, symbolism, and written text in a manner which can not be found in any other contemporary genres or medium. They discuss that there is a particular "dialect between word and image," that comics involve not only literary reading but also "picture reading" to some extent. They theorise that a great deal of the story and reading in comics is actually in the images, and that these images contain much of the "ideas and values" of the stories, and communicate, and expos much of what is not or does not need to be written.

They cite that the genre is becoming more important, due to our highly visual lifestyle in terms of entertainment in the past century. Perhaps due to the invention of the television, and we are now surrounded by this unity of imagery and sound through new media on a daily basis. The concentration on written text since the invention of the printing press is now shifting. Comics combine both these media in a way which novels don't, and television and movies do not either to the same extent. Comics also use still images, which new media generally doesn't, and the images are illustrations, meaning they can be used in ways that photography or photoessays perhaps couldn't, because it can be an artistic interpretation, represent symbolism or values which may limited by or not be possible to display in a live-action staging, bend the laws of physics, and is not limited by anything except the artist or reader's imagination.

How and why are comics becoming more accepted as an art form? Can/should they be regarded as a literary genre?

I'm not really sure about the first half of this question, because I don't see why they wouldn't be considered an art form or why they wouldn't have been in the past. Perhaps because their style is often very simple and flat (but not always) and highly stylised. I think now they would be more commonly accepted as an art form than say in the 30's or even the 60's, because they were in western society quite thin and flimsy and marketed to children, whereas now we have comics for all ages, as well the larger, longer version, the graphic novel. I think now that the target market has expanded and diversified that they can be appreciated in a different way by more people, and that because of this their true artistic nature is revealed, and their ability to bridge the visual artwork with the narrative art can be observed more frequently.

Personally, I don't see any reason why "comics" wouldn't or shouldn't be accepted as a literary genre, as they are literature, and I'm not really sure how that could be argued, assuming that we are talking about comics like Tintin which contain written literature.

I could see how the argument could take place in relation to "wordless" comics, because they do not contain words obviously, and for that reason rely solely on imagery and art, and thus could be regarded as art or a portfolio or an artistic essay, but the fact that the images are related, in sequence and are a narrative qualify them as a story. A prime and contemporary example of this would have to be the picture book by Shaun Tan entitled The Arrival, a truly beautiful wordless picture book, which tells the tale of a land invaded, and a man's journey to a strange new land. It is presented in typical comic book layout, carefully structure sequential frames, in sepia tone, without any text.

Okay so yes, it is a truly magnificent piece as far as art goes, but is it literature? Truth be told, it is both, and connects with the audience in ways that a piece of stand-alone artwork could not, or a piece of text. It contains all the features of literature, narrative and story, as well as sub-story, symbolism and motifs, point of view, character, plot, setting, and theme. It just communicates in a different way, and I don't think that makes it any less of a story, I was amazed when I read it how a picture-book without any words at all could convey such a deep message. I don't think that anybody who reads it would argue it isn't a piece of literature as much as a piece of art. So yes, I think regardless of what the form of comic, even if it contains not words at all, it should be considered literature, in the very same way a novel with no images at all should be considered a piece of art.

References:

Farr, M. (1991) Tintin: The Complete Companion.

London: John Murray

Varnum, R. & Gibbons, C. (2001) The Language of Comics: word and image.

Jackson: University Press of Mississippi.

Week four: How does Attebery (1980) define fantasy?

Attebery uses stories from other authors to define what he believes the different definitions of fantasy are. The authors and stories that he looks at to define fantasy are J.R.R Tolkien (The Lord of The Rings), C.S Lewis (Narnia) Lewis Carol (Alice in Wonderland) and Kevin Grahame (The Wind in the Willows).  These authors touch on themes throughout the books such as Gothicism, science fiction, and utopia. These themes all tap into characteristics of fantasy which helps Attebery to define what fantasy is.

Attebery uses W.R Irwin as an example for one of his definitions of fantasy. Irwin has suggested that something that seems to be ordinary and familiar can sometimes be distorted to create a fictional world. The fiction and magic of the seemingly ordinary object or person challenges the everyday ’norm’ that we are use to seeing and brings out a fantasy that seems impossible to us as humans. This can happen to the degree that the reader begins to believe that these odds can in-fact come true. This happens in Narnia when a seemingly normal wardrobe becomes the path to another fictional world and readers can begin to believe that a wardrobe is the entrance to a fictional world in reality.

Another definition of fantasy is that it needs consistency. The reader and writer need to maintain a consistent illusion for the entire course of the story. Tolken mentions this consistency as ‘secondary belief’. Fantasy must stay consistent in order for the reader to escape from everyday live through fantasy. It must be dependable to stay believable to the reader and so that chapters in the story make sense without the storyline going off-track and no longer making sense. Persistent stories also allow for sequels to books such as Harry Potter, Archipelago Earth Sea and The Lord of the Rings.

Fantasy allows to reader to guess what may happen in the storyline as it is set in a fictional world and the possibilities of the story are much more unlimited. For example in Earth Sea the reader does not know who will survive battles and if Ged will survive the missions he goes on. The storyline keeps to audience on edge, as they do not know what is going to happen. Fantasy helps to arouse curiosity by making the impossible seem a reality. This is because fantasy can be based off real life or every day events. For example Ged was a regular young boy who worked as a blacksmith for his father. This everyday activity then grew into a fantasy world and story and the reader was left to guess what was going to happen to Ged next.

One of my favourite ways that Attebury describes fantasy is by saying, “Line up a shelf of books and say “there this is what I mean by fantasy” Attebury (1980). Here he is referring to his favourite fantasy books and I think that this quote sums up how individuals can define fantasy so differently from one another, and how different genres such a science fiction and Gothicism can make up what each individual believes fantasy is.

Finally Attebery describes fantasy to be anything that creates stories, tales and images such as dragons, witches, and people fighting against evil by beating them with spells or wands. This is because fantasy treats these impossibilities without any doubt or hesitation.

I find it fascinating that fantasy can be so broad and interpreted differently by everyone through the many themes and genres that can make up fantasy.

Attebury, B. (1980). Locating Fantasy. In the Fantasy Tradition in American Literature: From Irving to Le Guinn (pp.2-9). Bloomington: Indiana

Week Three

How does Attebery (1980)define Fantasy? Find at least five definitions.

Fantasy can be defined in many different ways. Some may assume that fantasy is a structure, a state of mind, a form of science fiction or a technique. I believe that fantasy speaks to our desires. Most of us want to be something that is more than human. For example I have always wanted to have magical powers. Most of us enjoy some element of fantasy, this may be because we are somewhat dissatisfied with our human lives and want to break the law. 

Attebery firstly defines fantasy by naming some of his favorite books ‘Lord of the Rings, Wind and the Willows, and Princess and the Goblin’. He says 'perhaps the most satisfying way would be to line up a shelf of books and say "There. That is what I mean by fantasy"'. My bookshelf also has some fantasy such as Twilight, Vampire Diaries, Harry Potter and Lord of the Rings. Attebery states that fantasy is somewhat expansive therefore certain elements need to be outlined to explain what fantasy is.  

Attebery states there are many ways that a fantasy novel can proclaim its fantasy nature. By this he means that it can involve beings whose existence is impossible, such as dragons, flying horses, vampires, wizards etc. Fantasy may also take the form around certain objects such as wands, hats and houses. Fantasy uses these objects, places or forms of humans without hesitation or doubt, which makes us, believe that maybe some day this may come true. Even though I know magic is not true and vampires are just a fantasy there is some part of me that wants to believe they are real. I believe Attebery wants readers to let go and embrace their imagination and enter in a world where wizards, dragons and magic is normal. 

Atterbery believes that fantasy needs consistency so that the writer and reader can continue to use their imagination and the illusion through the entire course of the novel. He believes that “fantasy invokes wonder by making the impossible seem familiar and familiar seem new and strange”. I agree with this statement because when we read fantasy we are exploring the unknown. We imagine a world where witches and magic seem normal. We only leave this world when we close the book and our imagination.    

Attebery also mentions that fairytales and folklore can be classed as fantasy. Although not all fantasy is a fairytale, all fairytales are a fantasy. For example if you were out hunting and saw a small bear you would tell your friends and family that day what you saw. But lets say 15 years down the track you tell your kids that you were out hunting and were chased by a 6 foot tall bear which had vicious teeth and looked rather hungry. Basic events that happen in your life can always be twisted and turned into some sort of fantasy. Tolkin says “fact became legend, legend became myth”. To discover what folklore or fairytales are just chuck on a Disney DVD and you will see that these fairytales have all turned into fantasies. 

Attebery also touches on the darker side of fairytales. If you look at well-known stories such as the Three Little Pigs, Goldie Locks, or Hansel and Gretel each story is actually quite shocking. Being torn to pieces for eating someone’s porridge or having your house blown down does not sound like any fantasy of mine. Not all fantasy is dark but I feel their needs to be some element of darkness to ad to the excitement of the story.  

Week 2: How does Farr (1991) justify Tintin's appeal to adults?

Tintin, a young reporter from Belgium, travels around the world to unravel mysteries; along with his sidekick dog, Snowy.
Truthfully, Tintin had never really appealed to me in my childhood. I am not too sure if it was because comics were a foreign form of media in my culture, but in very recent days, I can honestly say that it appeals to me now; after exploring a bit of the Tintin world in class, that is. Its popularity with children 'was' the main goal, but why was/is it so popular among adults, too?

Tintinologist, Michael Farr, explains Tintin’s appeal to different generations. Farr (1991) mentions that Herge’s formula of a hero is what appeals to the masses of different age groups. He is your average kid (with a not-so average job for a kid his age) who is as flawed as any person. The things that make Tintin appealing are the qualities that he possesses which constitute this heroic image he has maintained for many decades. As stated by group member Sam, “the appeal is … self-generating” (Farr, 1991). A Tintin-loving child will eventually become an adult, adding to the popularity among mature readers. Yip (2011), from a Singaporean newspaper, also mentions that Tintin fans of many decades ago are still reading the nostalgic Tintin series.

Tintin does not deal with trivial matters. In fact, there is more to every adventure that Tintin goes through. Younger age groups are inclined to join Tintin in this partially fictional world with your typical enemies and your usual sidekicks, while learning a little bit from Tintin himself. But adult readers see the underlying messages that Herge inserts into his comics. At the time of each comic, Herge would draw things or events to keep some realism in the world of Tintin. Farr (1991) states that Herge had kept an archive of photos, from vehicles to foreign towns, and used them as a model for his comics. Yip (2011) reports that another factor adding to Tintin’s popularity among adults is the “complex language” that Herge uses. 

The Tintin series are still popular around the world today, but more with the older generation than the new. The most recent Tintin movie, "The Adventures of Tintin" (2011), is believed to be the form of media that has pulled in some new young and mature fans.


Reference

Farr, Michael. (1991). Tintin: the complete companion. London: John Murray.

Yip, W. Y. (2011, Nov 12). Tintin fans mostly adults. The Straits Times, pp. n/a. Retrieved from http://ezproxy.aut.ac.nz/login?url=http://search.proquest.com/docview/903501643?accountid=8440

Week 2: How might Hergé's The Blue Lotus address or relate to what Said (1977) terms 'orientalism'?

The idea of “Orientalism” in the view of Said (1977) is an idea constructed by the West. It romanticises the reality, depicting it as a place of “...exotic beings, haunting memories and landscapes...” (p.87), created as a polarization to Western culture and viewed as the “Other”. Said has stated “European culture gained in strength and identity by settling itself off against the Orient as a sort of surrogate and even underground self”, he goes on to say that the idea of “other” is a relationship of power and domination on part of the West. Herge’s Blue Lotus addresses these issues. This particular work is a progression from his previous works which were viewed as racist (for example Tintin in the Congo).

In the Blue Lotus there is a particular scene in which Herge directly addresses this idea of “Orientalism”. This scene is where Tintin saves Chang from the river and a conversation follows about the various stereotypes that both cultures have of one another. As Said has stated in his text, the “Orient” is more than a political notion, it was created to make easier to understand a culture that was foreign to the West. I think this is relevant to The Blue Lotus because it is evident that Herge has tried to remedy this idea by making sure that he has correctly portrayed aspects of the Chinese culture, for example in case of the street signs, clothing, the landscape, the people, etc through the aid of his friend Chang Chong-chen. However, there are still small mistakes, such as the costumes worn my Thompson and Thompson which is something usually worn by an emporer. This is a contrast to what Herge had done with Tintin in the Congo, where the African features were exaggerated. 

References:

Said, E. (1977) Orientalism. In Ashcroft, B. Griffiths, G. & Tiffin, H. (Ed.), The Postcolonial   Studies Reader (pp.87-91). London: Routledge.