The Misplaced Importance Of Bloodline In Fiction

bloodline in fiction

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. Harry Potter comes after a long tradition.

At TV Tropes you’ll find that Chosen One stories are so popular there are various subcategories.

WHAT DOES SCIENCE SAY ABOUT THE IMPORTANCE OF BLOODLINE?

When we talk about blood we’re of course talking about genetics. We didn’t know this until recently, though scientists had a sense there was some kind of particle which passed traits on.

The 20th century gave us the ‘nature versus nurture’ debate, but anyone who still thinks in those terms is making a folk distinction. Scientists working in genetics today don’t think in those terms at all because, basically, it’s all circular. We now know that environment influences gene expression. Now we know how little we actually know about genes. Sean Carroll describes our early thinking on DNA, once we had a name for it, then goes on to describe how much more complicated it is than that:

If you knew what the DNA was you could predict exactly what the organism was going to be, maybe what kind of food they would like or what kind of occupation they would have later in life. Today we know it’s a little bit more complicated than that. There’s more going on than just our DNA to make up who we are, not only nature versus nurture but even the nature part is very complicated. There’s epigenetics and development factors. There’s mitochondrial DNA. There’s the expression of the different parts of the genes that we have, and so we’re in a very, very rapid state of evolution, as it were, in terms of how we think in terms of how heredity works.

Sean Carroll’s Mindscape Podcast with Carl Zimmer

Separately, I heard another geneticist talking in an interview. I don’t remember who it was or what they were talking about exactly, but one thing stuck in my mind: Geneticists, as a group, don’t tend to be all that interested in ancestry. You won’t find geneticists avidly researching their own family trees. They don’t hang out on the forums of Ancestry.com. That’s a separate interest altogether. Conversely, an interest in genetics seems to make you less interested in where you personally came from, partly because your greater understanding of genetics shows you that we’re all related in one giant web. It seems the story of our collective DNA is far more interesting than any individual’s bloodline.

Maybe we should all get PhDs in genetics and we’ll get some world peace?

FEATURES OF A CHOSEN ONE STORY

The bloodline plot often involves an orphaned character. (Or a character who thinks they are orphaned.) Orphans are super popular in children’s literature, especially in American children’s literature.

Especially in kids’ literature … there’s a trend towards unhappily adopted orphan heroes, as we’ll all know, who are lifted from the abuse/poverty/hilariously wonky living conditions they’re in by discovering that their parents were secretly wizards, or royalty, or holders of some great destiny that Our Hero is now tasked to take up. The truth of their bloodline saves the day, and you can dream of a giant busting through your door declaring “Yer a wizard” and scooping you off into the adventure you were destined for, away from your mundane and terrible home life.

The Afictionado

THE PROBLEMS WITH CHOSEN ONE STORIES

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Father Tropes In Fiction

Turn Out Like His Father – A character has charge of a child (usually her son) and is desperate to keep this child from imitating another relative (usually his father). This is a fear of history’s repeating itself for his fate, which may be turning evil and usually ends with being dead. Harry Potter isn’t allowed to find out about his parents in case he turns out like them.

Like Father Like Son – this one is called a ‘supertrope’ because of all its subcategories.

Like Father, Unlike Son – In How to Train Your Dragon, Stoick the Vast is a big bearded man who is every bit a typical Viking warrior whose main defining feature is his strength.

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The Female Maturity Formula Of Modern Storytelling

When it comes to modern storytelling in Hollywood animated films for children, Pixar is at the top of the field. In fact, The Good Dinosaur, released late 2015, might have been their very first lemon, depending on what you’re looking for in a film for children.

What happened there? Interestingly, Christopher Orr of The Atlantic felt that perhaps The Good Dinosaur hasn’t been well received by adults because it is Pixar’s first film to explicitly target children (rather than doing the usual ‘dual audience’ thing), which leads me to my main point, as encapsulated by Roberta Trites (Illinois State University) in her book Literary Conceptualizations of Growth:

Disney has a long tradition of appealing to a dual audience. In Disney’s major releases, the story frequently includes adults who need to grow as much as adolescents do in a clear bid to pull parents into theatres along with their children.

This has lead to another shared feature of almost all of the Pixar films, unintended or otherwise: what Trites calls The Pixar Maturity Formula. It goes like this:

A mature female, who is coded as an adult, accepts responsibility for herself and for others. Even in the beginning of the movie, she can intuit how other people will react by anticipating their feelings and the relationship between cause and effect and […] she has a higher cognitive facility than the male characters around her do because she can accept death and control her sexuality.

Trites explains that Pixar characters can be easily divided into two distinct categories:

  1. Immature, insensitive, conflict-ridden, funny (and therefore very likeable)
  2. Mature characters (like parents/teachers — and therefore distanced from child)

Note that even though some Pixar protagonists are coded to look like adults, they don’t act like adults. So you can’t judge which are the ‘mature’ characters based on their onscreen age.

As you’ve probably worked out by now, characters from group 2 are pretty much always female, whereas characters from group 1 are pretty much always male.

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