A ‘chosen one’ story stars a main character who is basically ordinary, but because of their bloodline, they are destined for great things. Harry Potter is the iconic example of a contemporary chosen one story.
At TV Tropes you’ll find that Chosen One stories are so popular there are various subcategories.
THE PROBLEMS WITH CHOSEN ONE STORIES
I can’t say it better than Brent Hartinger:
I can’t STAND the whole idea of the “Chosen One” — someone who, usually by virtue of their family background, is destined for greatness. The prophecies all say so!
I’ve hated this trope as long as I’ve been alive. The Force runs strong in the Skywalker family? Harry Potter is a celebrity at the start of his story, destined to kill Voldemorte (or die trying)? Frodo must destroy the One Ring that his cousin/uncle brought back from his adventures, redeeming the family name?
Where does all this leave the rest of us? We’re supposed sit back and let the Chosen One complete his destiny? If we’re lucky, we might get to help?
This annoys me because it’s so clearly based on the idea of royalty: that some family lines are simply better than other ones. They’re chosen by God, or the gods, or Destiny itself. (Often, this is couched in the idea that this greatness is some kind of unbearable “burden,” one that must be kept hidden from the ignorant rabble, but that’s mostly just a bunch of bunk. From the point of view of all these stories, the main character is the “cool” kid, even if the actual cool kids can’t see it yet.)
But I believe to the core of my being that greatness is democratic: it’s damn hard, but it’s available to ALL of us.
BLOODLINE AND STAR WARS
I am not a Star Wars fan myself, but I would like to include a Twitter thread from someone who is. Star Wars is such a culturally significant story, and says a lot about what a ‘universal’ audience wants from blockbusters.
One of the MANY problems with overvaluing the bloodlines and legacy in Star Wars fandom: I’m a biracial woman of color. Blood purity and legacy when centered on white people has always been about white supremacy.
In worlds where that’s idealized people like me are exterminated. So having that very real inevitable outcome of imperialistic breeding be shown to be flawed and destructive, as well as intrinsically linked to a fascist regime that upholds oppression and exploitation of marginalized people is very validating.
As well as the damaging psychological toll that early indoctrination of children into any organization, whether it is the Jedi order or the Stormtrooper program. I’m still very disappointed that I have not seen anyone draw parallels between Luke’s early training of Ben and Finn’s abduction into Stormtrooper training. Both of these men were fucked up by the previous generation’s pushing their political and religious aspersions onto kids. Much of the subtext, that I am most likely reading into, the new cast of characters is that this is a generation of war orphans.
Whether they had parents or not, each one of them has been deeply marked by galactic civil war. Poe is a child of the Rebellion, a second generation rebel fighter. That brings with it high expectations, familiar ties to the cause and a still very childish ideation of what he believes heroism is. Rey lives in a literal Emperial graveyard, survives on salvaging scraps from the past. Jakku is such a fantastic subtle marker of how broken the galaxy was left after the last war. It’s quite a contrast to the opulent splendor or Canto Bight. Finn’s a literal child soldier, taken by a war machine fed by wealthy imperialistic interests and political apathy. Rose is deeply marked by the fractured and corrupt galactic politics of this post war universe. Her childhood was stolen in much the same ways as Rey and Finn. Kylo Ren is the ultimate failure of the precious generations, but also the embodiment of generational trauma. Both in the actual abuse his mother suffered under his grandfather, the misguided choice to train him as a child, and the stain of overvalued bloodlines and “legacy”.
I don’t feel like this narrative is mocking of berating it for falling in love with the romantic notions of destiny and heroism. I feel it’s, if a bit sarcastically, redirecting us to what lies beneath these seemingly mystical and wondrous ways in which people change their world. It’s ALWAYS people. Not magic. Not powerful death machines. People shift the tides of war. People save each other. People do this because of love, friendship, family, and faith in a better future. To me this recaptures the magic of A New Hope, but more importantly our first experience of it. Where it was just about random people stumbling their way into friendship and saving the galaxy along the way. Just a farm boy, smuggler, and rebel princess. Anything was possible.
They won not because of magic or machinery. They won because Han Solo couldn’t abandon his new friends, showed up in the very last minute of the battle, kicked Vader in the dick, so Luke could blow up the Death Star. Luke didn’t defeat the Emporer using the Force. Anakin Skywalker decided he couldn’t let his son die for a reason. A father chose to save his son’s life. The Lightside of the Force is love and hope. The Darkside is hate, anger, and fear. These are not exclusive to one family, bloodline. Neither is the Force.
DOES THE WORK OF LEIGH BARDUGO SYMBOLISE A CULTURAL SHIFT IN STORYTELLING?
I have reason to believe The Chosen One story is falling out of fashion, but that’s mainly based on observing the career trajectory of Leigh Bardugo. Now, I read a lot of publishing blogs, listen to agent podcasts and whatnot and I’ve never heard any series recommended by publishing people as much as Six Of Crows. Agents love this series. Importantly to my theory: Six Of Crows is not Bardugo’s first fantasy series. What is it about this one that made it take off, and what made it take off at this cultural moment? Bear in mind, most children’s publishing people are lefties:
Six of Crows was radically different from the original trilogy. It had nothing to do with royalty or secret powers or chosen ones or any of the things that people still seem so hungry for—and to be clear, those are all tropes I’ve written and tropes I like, so I get the appeal. But I was in a place where I wanted to talk about characters who the world sees as expendable, not the ones with grand destinies.
It’s impossible to write about chosen one stories without mentioning Harry Potter. J.K. Rowling’s series is proof that many readers love chosen one narratives. It’s also worth pointing out, because it’s easy to forget, that Harry Potter is now 20 years old. In sociological terms, that’s more than an entire generation.