Wednesday, March 22, 2017

Frills and Empowerment: The Single Story of Lolita Fashion in America

“Start a story with the arrows of the Native Americans, and not with the arrival of the British, you have an entirely different story.” This quotation from Chimamanda Ngozi Adichie’s TED talk, “The Danger of the Single Story” discusses a thought that she presented during that presentation that she refers to as “the single story.” This is a concept that puts forth the idea of a single viewpoint being a dangerous thing without any other information being provided. While Adichie presents the idea of the single story very well in her TED talk, single stories exist outside of the life experiences she shared as well. For example, the fashion subculture known as Lolita, a street fashion from Japan that has made its way into American cultural stream, has quite the large single story surrounding it in the form of stereotypes and preconceived notions as to why people wear it and what it is about, when there is much more to the style’s history and the people who wear it than what people initially believe.
Outside of the simple words “a single story,” Adichie was referring to a larger concept than the one she presented to the audience when she spoke to and, subsequently, the people who watched her TED talk online. What she really meant when talking about her experiences was that there are two or more sides to every story, not just a single, all-encompassing viewpoint. As she said, “The single story creates stereotypes, and the problem with stereotypes is not that they are untrue, but that they are incomplete. They make one story become the only story,” and this thought really sums up the idea she was trying to propose to her audience (Adichie). As she goes on to speak, she elaborates further on the concept further by talking about people she knew in her own life: her roommate, her professor, and herself as well, and as she does so, she brings to light the idea of stereotyping and that it is based in single-sided stories we are fed through the media and the world around us, thus creating a “single story” (Adichie).
While Adichie may have cited many examples of “single stories” from her own life, there are many that are occurring in the United States right now that affect its people. However, to focus on one, a very niche group of Japanese fashion enthusiasts have to take the spotlight. One group of scholars notes that “Japanese Lolita fashion…is characterized by images of women adorned in elaborate dresses with delicate fabrics inspired by stylistic interpretations of early-modern European clothing such as Rococo and Victorian dresses. The style thus exudes the look of European bisque dolls” (Nakamura et al.). Another interviewer states that “Many argue that the Lolita style has its origins in the French Rococo period of the 18th century, an era defined by wide skirts, delicate colors, ornate details, and generous lace trimming” (“Cuteness”). These statements represent the aesthetic of the fashion rather well, though there is more to Lolita fashion than just the ruffles and frills on the surface.
Lolita fashion comes from Japan, specifically from a part of Tokyo called Harajuku (“Cuteness”). Known internationally as a center of youth culture and entertainment, Harajuku is the home to some of the most well-known Lolita clothing brands such as Angelic Pretty, Baby, the Stars Shine Bright, and their offshoot brand, Alice and the Pirates (“Angelic”;“Baby”). Angelic Pretty, while it was established in 1979 under a different name, gave itself its current name in 2001, and has subsequently become one of the most well-known Lolita brands worldwide and producing clothes that represent the sweet Lolita archetype of dress (“Angelic”). There are many different types of Lolita fashion, and all of them help people express what they may not be able to with ordinary clothing. These styles range from sweet Lolita, which is characterized by dresses in pastel colors with prints that depict cute animals, delicious desserts, and other adorable things, to the other side of the spectrum in a style called gothic Lolita. Gothic Lolita is characterized by gothic elements including skulls, crosses, and dark colored dresses and accessories (“Cuteness”). The styles are so varied, in fact, that when someone takes a picture at a Lolita fashion meetup, odds are that you will not find two people dressed in exactly the same style.
Where there is a fashion style, there are bound to be people who spread stereotypes about it, and Lolita fashion certainly has its share of them surrounding it. One of the “single stories” surrounding Lolita fashion is that it is one and the same with a book titled ­Lolita, by an author named Vladimir Nabokov. The book tells the tale of a sexually promiscuous young girl who attempts to seduce the older male present in the story, who he refers to as a “nymphet”. So, naturally, the “single story” surrounding Lolita fashion is that the members of the community dress the way they do to attract pedophiles and/or older men (“10 Misconceptions”). This is not at all true; in fact, all the fashion style and the book share is a name (“Cuteness”). The style itself has no ties whatsoever to the book, or its movie adaptation, and the idea that people dress in the style to attract the type of attention seen in those stories is repugnant. As to how the style got its name is still up for speculation, but one theory is that Japan saw the word in Western culture and loosely translated it to mean “young girl,” and so they applied it to a style of dress that can sometimes resemble that of a young girl dressing up like a princess (“10 Misconceptions”).
Another one of the “single stories” surrounding Lolita fashion related slightly to the aforementioned topic, and that is that people who wear Lolita are trying to relive their childhoods, either because they have a sexual fetish for it or because they had a disappointing childhood (“10 Misconceptions”). As one Lolita fashion enthusiast pointed out:
I think the idea that Lolita is some kind of fetish is partly due to the fact that we say "I AM a Lolita" as opposed to "I dress IN Lolita fashion.” I mean obviously the Lolita book is the main culprit in the stereotype, but I feel like it's weird we call ourselves "a Lolita" as if clothing changes our identity. I kinda prefer to say I "dress in Lolita" because it differentiates it as a clothing style and not a costume/lifestyle/identity. (Ottai)
This is a valid point for many reasons, and it really hits on the idea that the “single story” is very present outside of the fashion style’s ever growing community, and that Lolita fashion enthusiasts can perpetuate this idea without even realizing that they are simply by stating things the wrong way.
One final “single story” that surrounds Lolita fashion is the idea that, the reason people wear these out of the ordinary clothing items, is because they just want attention and for people to stare at and notice them (“10 Misconceptions”). And while there are events like Lolita tea parties that can allow Lolita fashion enthusiasts to get together to show off their outfits and be proud of the work they put into them, they do not do it for the attention of the public. Reasons why people are drawn to the style vary; some say it is because the community is accepting, others come for the aesthetic of it all, and others still use the fashion to escape from their own self-confidence issues and to feel cute for once. Another reason many people are drawn to this sub-style is because it feels empowering to them. In the 1990’s, much of what the media put forth in terms of female beauty standards was the idea that, to be considered feminine, you had to dress sexually, and Lolita fashion rejects that idea in a lot of ways (“Cuteness”). The fashion is very feminine, with its lace and frills, but it is also relatively conservative, requiring blouses under sleeveless dresses, along with either tights or knee socks to cover your legs, and hardly any of the dresses are cut above the knee. This reinforces the idea that you can dress femininely without being sexual, and that idea appeals and empowers a lot of people who wear the fashion. So, there are many reasons people are attracted to this style genre, and none of them really involve fishing for attention and/or praise.

Adichie talked about many things in her TED talk, but the underlying theme remained that people needed to educate themselves to avoid being ignorant to the ways of the world that surrounded them. Whether the issue is the cultures of countries abroad, or a simple fashion style, the concept of “the single story” is damaging to everyone it touches. It can perpetuate hurtful stereotypes about people or places that are nowhere near true, and yet people will believe them because they do not know any better. However, the concept is ever present, and to avoid it, you need to read more than a single story to grasp the whole truth.

Works Cited for - Frills and Empowerment: The Single Story of Lolita Fashion in America

Works Cited
Adichie, Chimamanda Ngozi. "The Danger of a Single Story." YouTube, 7 Oct. 2009, www.youtube.com/watch?v=D9Ihs241zeg.

"Angelic Pretty." Wikipedia, 27 Nov. 2016, en.wikipedia.org/wiki/Angelic_Pretty

"Baby, the Stars Shine Bright." Wikipedia, 23 Oct. 2016,    en.wikipedia.org/wiki/Baby,_The_Stars_Shine_Bright

Dee, Caro. "10 Misconceptions about Lolita." F Yeah Lolita, Blogspot, 2011, fyeahlolita.blogspot.com/2011/07/10-misconceptions-about-lolita_02.html#uds-search-results.

Nakamura, Fuyubi, Perkins, Morgan, and Olivier Krischer, editors. “The “Nationality” of Lolita            Fashion.” Asia through Art and Anthropology: Cultural Translation Across Boarders,Bloomsburry Academic, 5 Dec. 2013, pp. 165-178. ResearchGate, www.researchgate.net/publication/280083835_The_Nationality_of_Lolita_Fashion.

Ottai, Sarah. "Post." Facebook, 25 Jan. 2017 www.facebook.com/groups/Buffalolita/permalink/1600684246614164/,

Pasht, Jonas Bell. " Cuteness, escapism, and lace monsters: my first Lolita tea party." YouTube, 3       June 2015, www.youtube.com/watch?v=FwnmGod0OqM&t=334s.




Monday, May 2, 2016

And They Lived Happily Ever After...Kind Of: Why Howl's Moving Castle Should Be Considered a Fairy Tale for the Modern Day

“In the land of Ingary where such things as seven-league boots and cloaks of invisibility really exist, it is quite a misfortune to be born the eldest of the three. Everyone knows you are the one who will fail first, and worst, if the three of you set out to seek your fortunes.”1 This is how the story of Howl’s Moving Castle begins, and it immediately draws you into a place where these magical items, and many more, are commonplace. The novel Howl’s Moving Castle, written by Diana Wynne Jones, follows the story of Sofie, a young girl who works in a hat shop with her mother who is transformed into an elderly woman by an evil witch known as the Witch of the Waste. As she begins her search for the witch in an effort to get changed back into a human, she ends up staying in a magical moving castle that belongs to the wizard Howl, a man who is widely regarded in Sofie’s town to eat the hearts of beautiful women. However, this is not the case, and he allows her to stay with him, his student Michael Fisher, and the fire demon who powers the castle, Calcifer, as she looks for a way to break the curse. Howl’s Moving Castle shares many common traits that span across the history of fairy tales, including common motifs, themes, archetypes, and Cashdan’s Four Stages. This being the case, it should be considered a fairy tale in its own right and join the ranks of fairy tales, even if it is longer than most.
To begin with, we will look at the elements of the four stages of a fairy tale, as put forth by Sheldon Cashdan in his book The Witch Must Die. The four stages are considered to be as follows: crossing, encounter, conquest, and celebration, in that order. The first stage, crossing, “leads the hero/heroine into an alien/foreign otherworld that is preceded by a challenging dilemma that must be solved,” and is categorized by “magical occurrences and strange creatures.”2 In Sofie’s case, she is thrown from her normal life in her small town and placed directly into the world of the magical when the Witch of the Waste puts a spell on her that turns her into an elderly woman. This spell is the driving force behind the novel, pushing Sofie to find a way to break it.
The second stage, encounter, “involves challenges in the forms of impossible trials, an evil presence/person, evils such as poverty or slave labor, or monsters.”3 While it could be argued that the encounter in Sofie's case is her initial encounter with the Witch, but she meets her many times throughout the course of the novel. This stage involves her struggle to figure out a way to break Calcifer's contract with Howl in order to get her young body back, as he told her that if she broke it, he would break the curse Sofie was under. In an effort to do this, Sofie travels as an elderly woman across treacherous terrain including mountains and swamps, and the struggle she goes through to do so emphasizes the evils done by the Witch of the Waste. 
The third stage, conquest, can be summed up in the four simple words that make up Cashdan’s book title, The Witch Must Die. In this stage, “the hero/heroine must enter into a life and death struggle with the evil that ultimately ends in victory.”4 While there is a final confrontation between Howl, Sofie, and the Witch of the Waste (the predominant evil figure of the story), the climax of the story is a little different. The final confrontation between Howl, Sofie, and the Witch was caused because the Witch had kidnapped Miss Angorian, a love interest of Howl’s. After the Witch’s defeat, however, it is revealed that Miss Angorian is nowhere to be found. That is because she is back in Howl’s castle, attempting to steal Howl’s heart that is held by Calcifer, as she is actually the Witch of the Waste’s fire demon, looking for a new human body to inhabit. The climax of the story is when she is defeated when Howl crushes the Witch of the Waste’s heart, the source of Miss Angorian’s power and her link to the deceased Witch’s life force.
The fourth and final stage, celebration, is exactly how it sounds. This is the stage that leads to the classic phrase “…and they lived happily ever after.” This stage typically includes wedding feasts or family reunions that help celebrate the idea that good will always triumph over evil. In Howl’s Moving Castle, a small family reunion was already taking place in the castle before the conflict occurred, which included Sofie mother as well as her sister, and they helped with the celebration after the battle against Miss Angorian. However, that is not the true celebration that occurs after the battle. The true celebration comes when, after Sofie broke Calcifer’s contract with Howl mid-battle in an attempt to save the young wizard from the brink of death, the spell that had been put on her by the Witch of the Waste was broken, leaving her a young girl again. Upon seeing her, Howl realizes that he has met her before during the May Day festivities that surround the events of the novel, and remarks that they should live happily ever after. Sofie agrees, and the rest is left to us as readers to interpret, as the novel closes with Sofie and Howl holding each other as Calcifer returns to the castle, though he is no longer held there by contract with Howl.
Moving past Cashdan’s four stages, common motifs show up in Howl’s Moving Castle as well. First and most obvious is the recurring struggle between good and evil that has been around since the beginning of fairy tales, if not longer.5 This theme repeats through classic fairy tales, and Howl’s Moving Castle is no different. There is a constant struggle between light and dark in this novel, between Howl and Sofie, the main protagonists of the story as well as the predominant “good” characters, and the Witch of the Waste, the main antagonist and the predominant “evil” of the story. Ultimately though, as in most fairy tales, good triumphs over evil when Sofie and Howl defeat the Witch and Miss Angorian in the final battle, leaving them to pursue a life together now that Sofie’s curse has been broken by Calcifer.
The common motif of human weakness is also tackled in this novel, as it is in many fairy tales from across the globe.6 Human weakness is prevalent in this novel in the form of Howl and Sofie as well. Howl is obsessed with his physical appearance, to the point where when his hair is dyed a slightly off shade of pink, he goes completely ballistic and ends up covering his castle in green slime in what can only be accurately described as a spectacular temper tantrum. Sofie herself is fairly skittish and doesn't think a lot of herself, though she is actually a very powerful witch. Human weakness is also present in the form of the Witch of the Waste, who used her fire demon in an attempt to stay young when she, in reality, should have died many years prior to when the novel takes place.
While the characters of Howl’s Moving Castle exhibit quite a bit of weakness, human strength is as much a common motif as human weakness is in this novel, showing up again in the characters of Howl and Sofie. Howl overcomes his cowardice and faces the Witch of the Waste, along with going to find the lost Prince, which was a mission he had shied away from. He even goes on to say that "the only way I could do something this terrifying is to convince myself I'm not going to do it."7 In this same general vein, Sofie realizes by the end of the novel that she is very powerful, and she uses that power to help Howl defeat Miss Angorian and break Calcifer and Howl's contract.
While common fairy tale motifs are present throughout Howl’s Moving Castle, another important element is as well; common fairy tale themes. The biggest theme that is present in both classic fairy tales as well as in Jones’ novel is the concept of appearances being deceiving, a theme that is present in many classic fairy tales such as Beauty and the Beast and Cinderella.8 Sofie looks like a 90-year-old woman, but she is in fact a young girl who was cursed by an evil witch. This theme applies to the character of Calcifier as well, as Calcifer’s face is described as “extraordinarily evil,” though throughout the novel we come to realize that he is not at all and is actually rather nervous and vulnerable.9  
Another theme that is tackled in Howl’s Moving Castle is the theme of freedom and confinement.10 There are two main types of confinement present in the novel: magical confinement and mental confinement. Magical confinement is present in the contract that keeps Calcifer bound to the fireplace of the castle, and also in the curse that keeps Sofie an old woman. Mental confinement includes all the bad habits of the characters that hold them back, the biggest example of this being Sofie’s low self-esteem that keeps her from realizing her full potential until the end of the novel.
The theme of family presents itself in the novel as well, a theme that has been well explored in tales like Beauty and the Beast when Beauty sacrifices herself for the sake of her father.11 There are two different kinds of family throughout Howl's Moving Castle; blood and chosen. On the blood side, you have the Hatters and Howl's sister and her husband and children, along with Howl’s sister, her husband, and their sons and daughters, who are all shown to be very important to their respective family members. On the chosen side, you have friends who chose each other (Sofie, Howl, Calcifer, Michael) for varying reasons, whether it be a place to stay, as a mentor, or because of a growing affection between parties. Regardless of which familial bond is present, these bonds are shown to be very important throughout the course of the novel.
The final theme that will be touched upon here, though there are many that could be discussed, is that of the supernatural. Any fairy tale worth its salt has supernatural elements, such as Sleeping Beauty’s one hundred year sleep, Beast’s transformation into a prince, or magical tears that resurrect the dead; Howl’s Moving Castle is no exception to this rule. “Howl's Moving Castle never takes its supernatural elements for granted. But if you disregard the spells for safety and flowers and moving castles and the many (many) curses, the main plot of Howl's Moving Castle really hinges on personal relationships. Oh sure Sophie has to cope with her old age curse and Howl has to get his heart back, but symbolically speaking, this just means that Sophie has to get out more and improve her self-esteem and Howl has to learn how to commit to one woman,” says Schmoop.com, and this is very true.12 As with many fairy tales, the supernatural elements assist in driving a story about something else completely. In the end, this story is about a search for self, while it masquerades in a fantasy world.
While universal themes and motifs are all well and good, something pivotal is missing in the argument for why Howl’s Moving Castle should be considered a fairy tale; the characters themselves. The characters in this novel fall into universal character archetypes that span across all of literature, but are especially present in fairy tales, the first of which being the archetype of “The Mentor.” The Mentor archetype is described as being “an older, wiser teacher to the initiates. He often serves as a father or mother figure. He gives the hero gifts (weapons, food, magic, information), serves as a role model or as hero’s conscience.”13 Two characters fall into this archetype: Calcifer and Howl. Calcifer falls into this category for Sofie. While he doesn't serve as a fatherly or maternal presence, he does help Sofie figure out how to break the curse on her, as well as his contract. Howl falls into this category for Michael, as he took him into his castle and trains him as a magical apprentice. He also serves as a pseudo-fatherly presence in his life, as Michael has no other family.
The second character archetype present in Howl’s Moving Castle is that of “The Shadow.” The Shadow archetype is described as being “a worthy opponent with whom the hero must struggle in a fight to the end.”14 It is also said that the Shadow can represent a darker side of the hero’s own psyche. Both the Witch of the Waste and the fire demon that inhabits Miss Angorian fall into this category, as Howl and Sofie must battle both of them near the end of the story to achieve peace. If you look at it, The Witch represents what Howl could have become, and Miss Angorian what Calcifer could have become if they had followed darker paths.
While Howl falls into the category of “The Mentor,” in Michael’s eyes, for the readers he fulfills a very different archetype; “The Hero.” The Hero “is a protagonist whose life is a series of well-marked adventures. The circumstances of his birth are unusual, and he is raised by a guardian. He will have to leave his kingdom, only to return to it upon reaching manhood. Characterized by courage, strength, and honor, the hero will endure hardship, even risk his life for the good of all.”15 However, looking at his character, Howl is really none of those things at all. His character actually almost perfectly mirrors that of the Hero archetype, as he is cowardly, lazy, and weak. Because of this distinct mirrored effect, though, it is a very pleasant surprise when Howl rises up to become the hero we all knew he could be in his final battle with Miss Angorian and the Witch of the Waste.
While putting Sofie in this category does not quite do justice to the strength of her character, it is most appropriate for her struggle throughout the novel: “The Damsel in Distress.” The Damsel archetype is typically described thusly: “A vulnerable woman who needs to be rescued by the hero. She is often used as a trap to ensnare the unsuspecting hero.”16 And while this archetype does not fully encompass the complexity that is Sofie Hatter, on a basic level, it does. Sofie is rescued by Howl time and time again; when she needs a place to stay, when a cursed scarecrow attacks the castle, when she gets captured by the Witch of the Waste when she went to go rescue Miss Angorian, and the list continues. And while Sofie does save Howl a few times throughout the novel, most notably at the climactic battle with Miss Angorian, it is primarily Howl who is getting Sofie out of trouble.
The final archetype that will be discussed here is a rather complex one: “The Trickster.” The Trickster archetype has many facets and complexities, but on a simplistic level, a Trickster “breaks the rules of the gods or nature, sometimes maliciously (for example, Loki) but usually with ultimately positive effects. The trickster is an important archetype in the history of man. He is a god, yet he is not. He is the wise-fool. He rebels against authority, pokes fun at the overly serious, creates convoluted schemes that may or may not work, plays with the laws of the universe and is sometimes his own worst enemy."17 The character of Calcifer is a classic trickster, at least by this simplistic definition. Calcifer is a fire demon, which, while not quite having divine status, provides him a link to the spirit world. Calcifer is the one who suggests to Sofie that she break his contract and, in return, promises that he will break the spell she is under, all the while not being positive that he can actually follow through on the promise he made her. He is repeatedly shown to be sarcastic, witty, and have a love-hate relationship with Howl, the master of the castle. Overall, Calcifer fills out the Trickster archetype for this tale fairly nicely.

While Howl’s Moving Castle isn’t a fairy tale in the traditional sense, it certainly has the elements of one from a literary analysis standpoint; between fulfilling Cashdan’s Four Stages and having many of the universal character archetypes that are typically found in fairy tales, it should certainly be considered one. Setting all literary analysis aside for a moment, the tale has the magical air to it that makes it a thrill to read time and time again, and each time you learn something new from it. You can pick up the novel and learn a lesson in self-confidence from Sofie, a lesson on facing your fears from Howl, a lesson in studiousness from Michael, or a lesson in cunning and tenacity from Calcifer. You can learn to not let your demons get the better of you like the Witch of the Waste, no matter how crushing they may seem at any given moment. And isn’t that what fairy tales are supposed to do? As they have been adapted over time, fairy tales have become a method of teaching our youth important lessons, even if they initially weren’t for that purpose at all. Regardless of where you are in your life, you can find the lesson you need in Howl’s Moving Castle. So, raise your head high and crack open the novel because, in the words of Howl himself, you “…ought to live happily ever after.”18

Works Referenced for: And They Lived Happily Ever After...Kind Of

Works Referenced

1    1.      Jones, Diana Wynne. Howl's Moving Castle. New York: Greenwillow Books, 1989. Print.
2.      Cashdan, Sheldon. The Witch Must Die. N.p.: Basic Books, 2008. Print.
3.      Cashdan, Sheldon. The Witch Must Die. N.p.: Basic Books, 2008. Print.
4.      Cashdan, Sheldon. The Witch Must Die. N.p.: Basic Books, 2008. Print.
5.      Gokturk. "Elements Found in Fairy Tales." Ms. Gokturk's English Page. N.p., n.d. Web. 6 Apr. 2016. <http://www.surfturk.com/mythology/fairytaleelements.html>.
6.      Gokturk. "Elements Found in Fairy Tales." Ms. Gokturk's English Page. N.p., n.d. Web. 6 Apr. 2016. <http://www.surfturk.com/mythology/fairytaleelements.html>.
7.      Jones, Diana Wynne. Howl's Moving Castle. New York: Greenwillow Books, 1989. Print.
8.      "Howl's Moving Castle Themes." Schmoop. Schmoop University, n.d. Web. 6 Apr. 2016. <http://www.shmoop.com/howls-moving-castle/themes.html>.
9.      Jones, Diana Wynne. Howl's Moving Castle. New York: Greenwillow Books, 1989. Print.
10.  "Howl's Moving Castle Themes." Schmoop. Schmoop University, n.d. Web. 6 Apr. 2016. <http://www.shmoop.com/howls-moving-castle/themes.html>.
11.  "Howl's Moving Castle Themes." Schmoop. Schmoop University, n.d. Web. 6 Apr. 2016. <http://www.shmoop.com/howls-moving-castle/themes.html>.
12.  "Howl's Moving Castle Themes." Schmoop. Schmoop University, n.d. Web. 6 Apr. 2016. <http://www.shmoop.com/howls-moving-castle/themes.html>.
13.  "Archetypes." Hillsborough Community College. N.p., n.d. Web. 20 Apr. 2016. <http://www.hccfl.edu/media/724354/archetypesforliteraryanalysis.pdf>.
14.  "Archetypes." Hillsborough Community College. N.p., n.d. Web. 20 Apr. 2016. <http://www.hccfl.edu/media/724354/archetypesforliteraryanalysis.pdf>.
15.  "Archetypes." Hillsborough Community College. N.p., n.d. Web. 20 Apr. 2016. <http://www.hccfl.edu/media/724354/archetypesforliteraryanalysis.pdf>.
16.  "Archetypes." Hillsborough Community College. N.p., n.d. Web. 20 Apr. 2016. <http://www.hccfl.edu/media/724354/archetypesforliteraryanalysis.pdf>.
17.   "The Trickster Archetype." Mrs. Tyler Class Wiki. N.p., n.d. Web. 20 Apr. 2016. <http://mrstylerenglish.pbworks.com/f/The+Trickster+Archetype.pdf>.
18.  Jones, Diana Wynne. Howl's Moving Castle. New York: Greenwillow Books, 1989. Print.

Monday, April 4, 2016

Princesses Do Not Need Saving: How Rooster Teeth's RWBY Spun Damsel Archetypes to Create Their Own Heroes

“Legends; stories scattered through time. Mankind has grown quite fond of recounting the exploits of heroes and villains, forgetting so easily that we are remnants, byproducts of a forgotten past.”1 Throughout humanity’s history, we have told and written stories meant to grasp the attention of young and old alike. We have done so through the use of universal archetypes, and common narratives. Rooster Teeth’s online animated series RWBY is no different on that front. The series, created by Monty Oum, follows the lives of protagonists Ruby Rose, Weiss Schnee, Blake Belladonna, and Yang Xiao Long as they train to become huntresses to fight the creatures of Grimm; fearsome monsters that are created whenever fear and doubt is present. And even if there are slight differences here and there, the female protagonists from RWBY bear an uncanny resemblance to the characters of Little Red Cap, the Snow Queen, Beauty (as well as the Beast), and Rapunzel, respectively, from classic fairy tales from around the world.
To start off, let’s compare the traits of Ruby Rose, the leader of Team RWBY, and Little Red Cap from the Brothers Grimm’s Little Red Cap. While the two bear striking resemblances to each other in attributes other than this, the first and most obvious is that of appearance.
From left to right: references 2 & 3

 The most obvious similarity appearance wise is the presence of the trademark red hood. While the origin of Ruby’s red hood is never brought to light, Little Red’s was gifted to her by her grandmother ("Once she [her grandmother] gave her a little red velvet cap, which was so becoming to her that she wanted to wear anything else, and that was why everyone called her Little Red Cap."4). Because of this similarity, one of the main antagonists from the RWBY series, Roman Torchwick, occasionally refers to Ruby as “Little Red”, further reinforcing this connection. They are both also given a distinction among the people surrounding them; their age, which is apparent in their appearance as well as other attributes. Little Red Cap is described as a "dear little girl whom everyone loved,” though her age is never actually specified.5 Ruby, following in those same archetypal steps, is only fifteen years old as opposed to her peers who are seventeen years of age or above.6 This age gap provides both of them with some issues, Ruby’s in the form of a childish nature and a lack of social grace, and Little Red’s in the form of childish naivety and foolishness.
Moving past the superficial, similarities continue to crop up around the two of them. In Ruby’s trailer, rose petals are featured heavily in many areas, including but not limited to, flowing off of her red hood to substitution for what would otherwise be a fairly gory amount of bloodshed.7 And while this may seem to be a minor observation, in the Grimm story, flowers are of large significance as well. Flowers in Little Red Cap’s story are what cause her to stray from her path in the woods, allowing the wolf to reach her grandmother before she does.
Speaking of wolves, they crop up in both narratives as well. In Little Red Cap, a wolf is seen as the main antagonist who ends up consuming both the girl’s grandmother and Little Red Cap herself. The wolf is eventually slain by a hunter who was passing by the grandmother’s house and the two are rescued.8 In Ruby’s trailer, however, the tables are flipped slightly. Wolf-like creatures of Grimm, Beowolves, are shown to be attacking Ruby, and she herself fights back against them, taking on the role that the hunter plays in the traditional story. Later on in the series, it is revealed that she is training to become a huntress, a form of defense against the creatures of Grimm that protect the people of Remnant from them.9
Though the similarities between Ruby and Little Red Cap are striking, the similarities between Weiss Schnee and the Snow Queen from Hans Christian Andersen’s The Snow Queen are even more so. As we did previously, we will start with the matter of appearance.

From left to right: references 10 & 11



The color schemes for both Weiss and the Snow Queen are very similar, consisting mostly of ice blues, silvers, and whites, and both are drawn as strikingly beautiful women. In the Snow Queen’s case, she is also described in her story as “A young lady, dressed in the finest white gauze, made of a million little flakes like stars. She was so beautiful and delicate, but she was of ice, of dazzling, sparkling ice; yet she lived,” a description which can be applied to Weiss’ attire as well as her own.12 One other physical similarity is the fact that they both wear tiara-like headpieces that almost appear to be made of icicles, though Weiss’ is visibly smaller than that of the Snow Queen.
Along with their physical similarities, they have similar abilities as well. Weiss, with the help of her rapier and a substance referred to as Dust, has the ability to control many elements including time, fire, ice, and many more during combat using glyphs, manifestations of her power in the physical world in the form of geometric patterns wherever she wishes them to be; they work as a sort of channel for her power so that the elements are concentrated on the area she wants it to be as opposed to letting them run amuck.13 The Snow Queen, on the other hand, is the literal personification of the winter season and, thus, has the ability to control everything that the season entails, including the bitter cold wind, ice, and many other pieces that make winter what it is.
Furthering the similarities between these two, the Snow Queen’s palace is described to be “empty, vast, and cold just like her,” leading the reader to believe that the Snow Queen is a cold figure in every sense of the word and represents not only the beauty, but also the lethality of the winter season.14 Weiss is “irritable and confident in her abilities, though also acknowledges her deficiencies and the need to hone her skills further,” and “her confidence in her skills and intellect often comes off as arrogance to others.15” She is also fairly snobbish and uptight, but she has a beautiful heart under the wall she put up to protect her from the outside world. This façade leads a lot of people to believe that Weiss is also a very cold person, though for the most part it is just residual snobbery from her upbringing as the heiress to a major company.
Along with all of these connections, a fairly easy one to make is the connection between Weiss’ sigil and the predominant feature of the Snow Queen and her castle. Weiss’ sigil that she wears on the back of her jacket depicts a snowflake, the universal symbol of the winter season. The Snow Queen, while being the personification of the winter season herself, features ice crystals and snow predominantly inside her castle, as well as in her own attire. However, even though that previous connection was the easiest thus far to make, the easiest one is this; Weiss has been nicknamed “Ice Queen” by the characters of Sun Wukong, Roman Torchwick, and Jaune Arc in the show itself, providing an irrefutable link between the two characters.
While the previous characters bore resemblance to one character in particular, the character of Blake Belladonna is an abnormality in that, instead of one character, she bears likeness to the character of Beauty, as well as to the character of Beast, in the Jeanne-Marie LePrince de Beaumont story Beauty and the Beast.
From left to right: references 16 & 17

Blake and the Beast from the original tale are a textbook example of the phrase “appearances can be deceiving,” but in opposing ways. Beast is portrayed as a hideous monster, but beneath the monstrous exterior is actually a wonderful prince who was cursed to be appalling aesthetically. He hides this fact, however, in order to make sure Beauty would love him for who he was as opposed to just his looks.18 Blake masquerades in a very different way; she masquerades as a normal human, when in reality she is a separate race referred to as a Faunus. This race appears to be half human, half animal, and often presents itself in a person by giving them some sort of animal appendage, such as a monkey tail or, in Blake’s case, cat ears that she hides with her bow. However, her masquerade is similar to Beast’s in that she pretends to be a normal human to avoid ridicule from fellow classmates, as well as judgement from her friends.19
In this same general vein, Blake and Beast are similar due to the shared experience of prejudice against them from the public. In Blake’s trailer, the words “stripped of all rights, just a lesser being; crushed by cruel, ruthless human rule” are heard, alluding to the prejudice and hatred for the Faunus by ignorant individuals in the world who do not understand differences.20 Because of this prejudice against them, many Faunus have been hurt and killed by people who just do not understand. Beast was cursed by an evil fairy, leaving him in such a state that no woman would ever take him for a husband. This leads the reader to believe that, during the course of the story, he has tried to court women in the beastly state he was left in by the fairy, and has been turned down because of his looks.
One final nail in the proverbial coffin for the similarities between these two are the words that are heard in not Blake’s trailer, but Ruby’s trailer. In the trailer, many analogies are made for the various members of the RWBY squad, among them “black the beast descends from shadows,” alluding to the fact that Blake is a hidden beast, much like Beast is in the original tale.21

Blake and Beauty have many similarities as well, beginning, of course, aesthetically. Both are depicted as beautiful women; simple as that. However, the similarities run far deeper than that. One immediate link between the two is an object that featured in Ruby’s trailer, as well in both Blake’s and Beauty and the Beast; roses. Roses are featured in the background of Blake’s trailer for almost the entire duration, and, much like in Ruby’s, they are also used for varying purposes (simulation of blood spray, a show of great speed, etc.).22 In the fairy tale, when Beauty’s father goes away, he asks all his children what they would like for him to bring back for them. While her siblings ask for gaudy material belongings, Beauty asks simply for a single rose and for his safe return. It is this rose that ends up getting her father in trouble with the Beast when he tries to take one from his castle garden. This single object was what set the entire tale in motion, so naturally it should be marked for its importance in both the tale, as well as in Blake’s trailer. 
Other similarities continue to crop up as well; for example, when Blake is first introduced in the series, she is seen reading a book, suggesting a thirst for knowledge. In Beauty and the Beast, when Beauty’s father was still wealthy, he “spared no cost for her education,” and when she was taken to Beast’s castle, she was put up in an apartment that contained a “large library, a harpsicord, and several music books,” which shows that the two women share an interest in books as well as knowledge.23

Along with their thirst for knowledge came an understanding of differences, which resulted in a strong sense of moral justice for both characters. For Blake, regardless of whether they are Faunus or not, she treats everyone equally. She also despises those who judge and discriminate based on prejudices, especially those based on someone’s race. She is more than willing to fight for what she believes in as well, and often does, though almost never through physical confrontation.24 Beauty’s moral compass is slightly different, though she does still have a very distinct sense of right and wrong, as shown when she offers herself up to take her father’s place at the Beast’s castle to save him from the torment she would have caused him in asking for a rose. This trait also shows distinctly when she is speaking to Beast and says “Among mankind, there are many that deserve that name more than you, and I prefer you, just as you are, to those, who, under a human form, hide a treacherous, corrupt, and ungrateful heart.”25
While Blake encompasses the characters of both Beauty and the Beast, the character of Yang Xiao Long is a good example of a character that, while based in the same general character, has elements from varying versions of that character. Yang is based off the character of Rapunzel from the tale Rapunzel, written by the Brothers Grimm, but contains distinct elements from the same character that was written in the Walt Disney Studios film, Tangled.
Top (from left to right): references 26 & 27
Bottom: reference 28
  The most obvious connection between the characters of Yang and Rapunzel comes from their appearance. Yang is classically beautiful, with long blonde hair and a voluptuous body. Rapunzel, in the original tale was described with “magnificent long hair, fine as spun gold,” and it was said that she “grew into the most beautiful child under the sun.29” However, these attributes are not just as they appear. Yang uses her long, golden hair to channel her semblance, which is power you can use during battle, so naturally she is very protective of it. In fact, in her trailer, an enemy is seen to have ripped out a chunk of her hair and she ends up pummeling him through the glass of a window.30 In the original tale of Rapunzel, she just had extremely long hair that was used as the only mode of transportation in and out of the tower where she was held. In Tangled, however, Rapunzel’s hair possesses healing qualities that she can activate by singing a special song. These healing qualities managed to keep Mother Gothel (her mother figure) young far past when she should have been.31
Another character trait that both Rapunzel and Yang share is that of kindness. Yang, when possible, is incredibly nurturing to her sister. She is also sympathetic to the Faunus, and has a fairly optimistic view on life, for the most part.32 Rapunzel from the Disney adaptation has a very optimistic view in life, as well, hoping to one day see the lanterns that are released on her birthday every year by the king and queen, and convincing herself that if she believes, she will someday be able to go. She is also friendly to Pascal and Maximus, and kind to the thugs and citizens she meets during her journey to the kingdom.33

One area in which the two differ slightly is their intellectual maturity. Despite her fun-loving demeanor and young age, Yang is “deceptively mature, insightful and worldly-wise, and is capable of holding a serious discussion at length and offering intelligent, thoughtful advice.34” However, due to her isolation, in both the Disney adaptation and the original tale, Rapunzel does not have much world knowledge because of her lack of experience in normal society. This does not mean that she is not intelligent, though. She is intelligent in both versions, and can certainly hold her own against obstacles that cross her path. 
One thing is for certain for both characters, however; they do not need a “Prince Charming” character to save them from their fates. Yang is more than capable of battling her own dragons and is being trained with the rest of the RWBY squad to do so. In the original tale, Rapunzel ends up saving her prince with her tears, curing his blindness, after setting out to look for him in the woods when he failed (spectacularly) to save her; in Tangled, Rapunzel ties up the prince character (Flynn Rider) and interrogates him when she first meets him. And while the two of them do end up falling in love, Rapunzel brings him back to life in this version, again, with her tears, effectively saving him.
The lesson that we can all take from the RWBY series is how to be our own heroes. Though we cannot train to literally fight monsters, we can face our demons and become warriors in our own right. Rooster Teeth took the Little Red Cap, Snow Queen, Beauty (and Beast), and Rapunzel archetypes for a spin with their characters of Ruby Rose, Weiss Schnee, Blake Belladonna, and Yang Xiao Long, and yet they still very much fall under those categories; they are not by any means unrecognizable. These characters help to illustrate the underlying lesson of the series as a whole. RWBY is dramatic, gritty, and dark at times, but this only helps to emphasize the point that only we can save ourselves; because, in the words of Blake herself, “the real world is not the same as a fairy tale.”

Works Referenced for "Princesses Do Not Need Saving: How Rooster Teeth's RWBY Spun Damsel Archetypes to Create Their Own Heroes"

Works Referenced
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  3. Smith, Jessie Wilcox. Little Red Riding Hood. 1911. Painting.
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