Matthew Berridge Pop Genres Assignment 2 - Fanfiction

Chapter One

Emily braced herself against the cool night air, wrapping her black scarf cosily around her neck and hunkering down into her heavy winter coat. She could hear the crowd over in the Christmas Markets oooohing and aaaaahing as the first snow of the season began to fall over Brussels. She was happy to be back here, even if it was just for the night. She loved the atmosphere that the markets provided at this time of year; the sweet smell of the food stalls, the old stone buildings lit up in glimmering greens and reds, kids running around exitedly as their parents examined the available wares. And now with the snow falling, it really felt like Christmas. The voyage from London had been long and tedious – the ferry rocking from side to side as it crossed the gusty channel, and then the train was delayed by the snow, which was somehow missed by the weather forcasters. She carried herself with an air of urgency through the streets, not simply to escape the cold, for she knew that the wood burner at the Labrador Road flat would be on, the kettle whistling away on top, but because she had a message for her adventurous reporter friend Tintin.

As she rounded the corner and saw the light shining through his living room window, she thought about how they'd met. It was at a trade expo in Hong Kong. They were working there as reportors, or at least, Emily was. Staying at the same hotel, it wasn't long before she noticed that Tintin was in fact up to something else. She'd noticed him sneaking around all over the hotel, leaving his room late at night, and turning up to breakfast the next day dog-eyed and almost falling asleep in his porridge. It's not that Tintin wasn't very good at sneaking around, it's just that Emily was smart. She cracked a smile as she remembered thinking that this innocent-looking guy, what with his firey red quiff and immaculatly pressed khaki pants and tailored white shirt, couldn't possibly be a bar-hopping party animal dancing the night away. No, he was up to something else, and she wanted in. They soon became friends, with Tintin seeing something in Emily that no one else had before. She learned that he was in Hong Kong to track down a druggy who had been exporting heroin to Europe. Next thing she knew, they were chasing Chinese drug lords through the sticky, humid streets of Hong Kong. Just the thought of those five days, so hot that her clothes had clung to her like they were lathered in glue, was such a contrast to the cold that enveloped her as she trudged through the street towards Tintin's flat. It had been enough adventure to last her a lifetime.

At last she climbed the steps to his big wooden door and rung the bell. Emily hoped that Tintin's larger-than-life landlord wouldn't be the one to answer. She was a nice lady, but boy-oh-boy could she talk and Emily just needed to see him. She didn't have time to discuss the weather.

At the ring of the bell, a dog started to yap from inside the flat. Snowy, she thought – Tintin's little white terrier, still as excitable as ever.

She could hear the clomp, clomp, clomp of someone coming down the stairs now. Muffled speech. The barking stopped. And then the door opened.

“Emily, mais quelle surprise !” Tintin exclaimed. He stared at her wide eyed and then began to chuckle, realising his linguistic error. Quickly switching to English he said, “What a nice surprise it is to see you!” He pulled her towards him and kissed her gently on the right check, then the left. “And you!” Emily replied. “You look great,” she said, poking him jokingly in the ribs.

Tintin looked down at his attire. He was in blue flannel pyjamas and a fluffy grey dressing gown. Strangely, he was unshaven, his chin covered in short ginger whiskers.

He smiled at her. “I wasn't expecting visitors.... I've just been working on a couple of stories all day.”

“Don't worry, I'm just pulling your leg.” She stuck her tongue out at him as he took her suitcase and she followed him up the stairs.

“What are the stories about?” she asked.

“Ah, pickpockets, car accidents, the usual. I've not had much excitement lately. I mean, I've even started helping the typist with writing up the classifieds section!”

**

At last Emily sat with Tintin in the living room with a big cup of tea and a plate of biscuits. Snowy lay quietly in front of them beside the woodburner.

“Tintin, I'm going to cut right to the chase because I'm quite anxious about this...” she started.

Tintin looked at her, confused. Emily quickly shifted her gaze down to the cup of tea resting on her lap, biting gently on her lip.

When she looked up, Tintin had moved closer. He reached out and rested his hand on her shoulder. “What is it, Emily?” he asked.

“I... I don't really know what it's all about, Tintin.” Emily pulled out the envelope she had been given and told to take to him personally.

“I received this last week. A man came to my office at the London Daily Express and closed the door behind him. Speaking in a whisper, he said it was essential that I take it to you as soon as possible, and that I not read it until I was with you.”

She handed it to Tintin. Holding the brown envelope out in front of him, he just looked at it. Emily wondered what was going through his head. As much as she dreaded finding out what the contents of the envelope were to have in stall for them, she knew it had to be done.

“Go on then, open it!” she exclaimed.

As Tintin started to read the letter, she could see his eyes begin to light up. Indeed, they had made a good name for themselves tracking down those drug lords in Hong Kong, but hadn't it been enough adventure for a life time, she'd said. Surely....

Tintin shot her a glance. He was practically salivating. Here we go, she thought. It looks like Tintin's day job is about to get a bit more exciting... and I'm to be pulled along for the ride as well.

Exegesis

My narrative is a fanfiction based on the Tintin character from Hergé's famous comic strip, however it is told from the perspective of a new character – Emily. For the purpose of this assignment, I am submitting only the first chapter from the story, which consists of just over 1000 words. It is untitled, as a one thousand word limit does not allow for even thinking of a title.

According to Vogler (2004), most narratives share a common structure. This structure is present in many, if not all of the original Tintin series, as well as in my fanfiction contribution. Submitting Chapter One from my story is fitting, as Vogler's idea of structure begins with Act 1, where the “Heros are introduced in the ORDINARY WORLD.” (Vogler, 2004). In my fanfiction, a new character, Emily, comes to see Tintin in his home country of Belgium. He is presented as a normal fellow in his pyjamas. He tells her that he has been working all day, thus he is presented as being in the ordinary world.

Following this, still within Act 1, Vogler (2004) suggests that the hero, which in this case is Tintin, receives THE CALL TO ADVENTURE. In my fanfiction, Emily has presented Tintin with a letter that calls him, as well as her, to a new adventure. Vogler (2004) believes that after the call to adventure, the structure would then call for the hero to appear reluctant and need to be encouraged by a mentor. However, I have challenged this part of Vogler's structure in my own fanfiction as I do not believe that it fits within a Tintin story. Tintin is the kind of character who would never back down from an adventure or a challenge. This is one of the things that many readers enjoy about his character.

With regards to Vogler's idea of “character-types” within narratives, it is clear that Tintin is the “Hero”, as mentioned above. Emily is most likely seen as the “Herald”. Vogler (2004) suggests that the Herald appears in Act 1 to bring a challenge to the Hero and announce change. It is fair to say that one thousand words does not really offer you the chance to establish a new character such as Emily. In Act 1, she does indeed appear as the Herald, bringing Tintin the letter, or the “challenge” but further on in the story, I would have liked to also make Emily the “Princess”, a type of character who the Hero often marries after being sought for.

Reference:

Vogler, C. (2004). The Writer's Journey: Mythic Structure for Writers. Michael Wiese Productions, USA.

Week 3 - How does Attebery (1980) define Fantasy? Find at least five definitions.

The first element that turns a work into fantasy is the presence of elements belonging to the unreal and mystical which defies reality like magic, mythical creatures, characters or object possessing powers we know them not to possess in reality. He states that “any narrative which includes as a significant part of its make-up some violation of what the author clearly believes to be natural law – that is fantasy” (Attebery, 1980). He also describes fantasy as texts which push the writers and readers to consider the possiblity of the impossiblity of the elements that make a standard fantasy story. In other words, in order for a fantasy to work, “a story [must] treat an impossibility as if it were true” (Abberty, 1980). 

Week 11 – How does Hill define reality TV?

According to Hill (2004) it is really difficult to give a precise definition of the reality TV genre because it derives and borrows from a lot of other different genres and the boundaries between those are ambiguous. Reality TV is also constantly changing because it adds new and old elements from other genres all the time which makes it difficult for those who work or study reality TV to actually categorise it. The fact that reality TV offers a wide range of programs in which the boundaries between real-life facts and fiction are blurred makes them more popular with the audience.

Week 9 – What role does Hills (2004) suggest the fans play in the construction of cult TV? How is new media central to this?

Hill (2004) suggests that the popularity of cult TV shows comes mostly from the fact that fans make them so. In other words, this would mean that a program on TV only works if there are people to watch it. In order to thrive and become famous, a show needs an audience that will love it and ask for more; shows that are in demand usually last longer in the production. Some cult TV shows have been broadcasted for decades and still retain their original appeal; others which production has ended a while ago and do rerun are still famous (e.g cult series Friends). In his words Hill (2004) explains that “cult status arises, ultimately, through an audience’s passion for a TV show”. However fans of cult TV don’t only show passion for their favourite programs they also defend their consumption choices because “cult TV is centrally important to cult fans’ ‘lifestyles and identities’” (Hill, 2004). With the advancement of new media, the rising of TV shows to cult status is even more prominent with the space and time in which shows can be accessed becoming broader.

Week 1 - How might Hergé's The Blue Lotus address or relate to what Said (1977) terms 'orientalism'?

Said defines the term orientalism as the way westerners approach or regard things that are foreign and unknown to them, especially through academic materials (books, research...). In ‘The Blue Lotus’ there are a few elements that could relate to Said’s orientalism. First, there’s a scene in Tintin where a white beats a Chinese man because the latter bumped into him. The violent reaction of this westerner illustrated the general feeling of populations from the West and how they usually behaved or we’re thought to behave toward anyone or anything ‘Orient’ originated. However the scene where Tintin saves Chin from the river depicts a complete opposite image of the ‘white population’. In this scene Tintin tries to explain that not all westerners act the same way. More over while Hergé seems to denounce the treatment of the Chinese, he seems to antagonize the Japanese by describing them as the ‘bad guys’ that invades China.  

Weeks 9-10 Cult Televison

After reading Matt Hills Defining Cult television texts, inter-texts and fan audiences, I am increasingly interested in the idea of an ‘escapist reality’ A key characteristic in creating a ‘cult television show’ is the idea of ‘making fantastical worlds normal’ what intrigued me about this statement, is that almost like a novel, creating fantasy that we can relate to, or in someway escape into is somewhat of a necessity to human nature. It is as if we need to continue finding ways to escape reality, or rather than escape reality, but to subconsciously find ways to enhance reality. This is only idea, but I’m going to further explain this idea with this example ‘This transformation from exotic or extraordinary into homely/ordinary is, I would argue, one of the key ways the cult TV appeals to its audience over time.’ (Matt Hill, Pg51). The idea of injecting fantasy into reality, is also evident in Fantasy novels such as Harry Potter, and the C.S Lewis ‘Chronicles of Narnia’ although in the novels, the two worlds were divided and were passed through ‘portals’ or other forms of magical divides. The interesting thing about ‘Buffy’ is that she lived within the normal world, but fought abnormal creatures until the viewer began to consider it normal. I personally see this as a valediction of sorts as human beings are constantly either consciously or subconsciously curious of what we don’t know, how can we possibly be the only form of intelligence on planet earth? What is after death? And most importantly in reference to Buffy do supernatural creatures exist. Buffy provides almost a safe haven as such for the viewer to satisfy those questions, those fantasy, we are given a somewhat necessary world to escape to, to indulge in our imaginations. Fantasy Literature, Anime and comics provide this for the reader and ‘cult television’ is just another form of that need being addressed, although it is more effective because the viewer can watch as many episodes they choose, and whenever the please. The appeal of cult television is that it is a continuous narrative in which fans can constantly tune into.

Cult television offers their audience an in ‘detail’ experience of the different worlds that is created, instead of reading and imagining what the world’s fantasy authors. We are able to get in-depth detail of what the world looks like, what the characters act like, we are given a more stimulating experience of the world being created.

An interesting example of ‘Cult television’ playing on television now, would be that of ‘True Blood’ which seems to stand out amongst most of the ‘Cult T.V’ in today’s society. It shows direct influences from Buffy for example the main protagonist is a female who eventually finds out she is half ‘fae’ (fairy) the interesting thing about this character is that she embodies the cliché or typical ‘damsel in distress’ stereotype. She is small, blonde, and is seemingly innocent looking, yet when she is encounters mystical creatures such as Vampires, Shape shifters, Werewolves only to name a few, turns into a bad-ass, foul mouth, butt kicking heroine. Who without a doubt always ends up covered in blood. The difference though between True Blood and Buffy is that like all things in life, and time true blood is almost indefinitely an evolution in Cult Television as it delves in even further to human emotion and human psyche and desires. There is also an extremely erotic and sensual element to the series that satisfies human exploration. It is socially aware and has dealt with subject matter such as Religion, Same-sex relationships, Racism, Incest only to name a few. It appears as if no subject is Taboo, which makes it increasingly appealing and controversial. 

Week 3-4

Fantasy is a complex and extremely vast ‘genre’ to try to define, more something to be explored and pondered per say, then clearly defined.

Fantasy is the ‘overt violation of what is generally accepted as possibility’. Fantasy at it’s best provides an escapism from the world in which you physically exist in, and should question your current ideas on what is ‘morally’ ‘physically’ ‘philosophically’ and even ‘spiritually’ correct. It is the formation, and the existence of an entirely new world.  Examples of these are everywhere Harry Potter for example, and the use of ‘magic’ and ‘wizardry’ the ability for humans to possess unique powers that allow them to exist within another world, to come and go between the two as they please, and to control there surroundings. The existence of ‘mermaids’ of ‘elves’ and ‘dragons’ are validated and are considered entirely normal and acceptable whereas in our realities no such things existed. Fantasy provides a sense of escapism for the reader because it is so overtly opposite from our reality’s providing a world of advanced opportunity, where imagination is stimulated. ‘The consistent treatment of impossible as if it was possible” is what attracts readers to fantasy; it questions us morally and intellectually.

‘It can clarify philosophical and moral conflicts, embodying them in story lines that may not be directly applicable to our own complex and muddle lives’.Attebery explores and attempts to explain the influence that Marchen story telling has on fantasy, the ability to create another world that is parallel to the one in which we exist to present stories that attract the reader on both a moral ground and imaginative ground. The stories satisfy all senses and one of the common grounds in which Marchen storytelling, fairy telling, and folklore all have in common is that they are all set in an indefinite time and place. They all have a moral subtext that normally portrays triumph over difficulty.

Fantasy is the sense of wonder it generates suspense. It creates characters that we can relate too, the main characters are usually un-remarkable physically but have strong morals and characteristics that the common every-day person can relate too. For example; Physically Harry Potter, and Frodo are neither physically appealing. Harry Potter wears glasses, and has a scar on his forehead and Frodo is a dwarf. Yet we never fully question the morality of each character, or the fact that ‘their heart is always n the right place’. It is also appealing to us that these ‘common’ characters always have the ‘consistent treatment of impossible as if it was possible’

The creation of another world, and although fantasy does not take place initially in the real world, or take place in the world in which we exist it should represent aspects of our world, or confront us with a truth that we deal with in reality otherwise we would not find it appealing. I would like to discuss further fantasy and escapism and the connection that fantasy and folktale have with escapism and reality.
I believe that fantasy is very much escapism, it allows us to exit reality and to enter a parallel universe. We can read of impossible feats that we could never physically ever see or perform and yet we can stimulate our imagination and our mind with being able to read and create our own worlds within a book. As mentioned in the course book fantasy cannot help but have meaning, and that is what fantasy and folklore/fairytales or share and have in common, the fact that underneath the myth and the fantastical worlds that are created there is always a sense of morality. A lesson is always learnt; a happy ending is always looming in the horizon. The fantasy genre is consistently confronting with themes such as suffering, life after death, immortality, destiny and the future. I believe that fantasy also has some of the most important aspects of reality woven within each story. Some of the most important human values are always present within some of the greatest Fantasy stories. For example Harry Potter, the three most important or main characters within the story, Harry, Ron and Hermione each represented an important trait that eventually contributed to the death of Voldemort and subsequently the happy ending. Harry represented Bravery and strength, he also was overwhelming Independent and quick thinking. Hermione was insanely smart and wise, both in an intellectual sense and in a spiritual sense, she had dignity and was able to stand strong in a world that didn’t necessarily accept the fact that she was “Half-Blood” and Ron, whom I would say was the most interesting to evaluate, is all in all the most loyal, his loyalty to his friends is unwavering, coming from a large family, and understanding values that exist within a family dynamic he was able to create that environment for his two ‘outcast’ per say friends.