Log in

No account? Create an account
David Hines [userpic]

the Bullshit Reversal, how and why to avoid it

March 3rd, 2012 (09:38 pm)

I am an extraordinarily negative person, and I have a huge list of things I hate, both in fan and in professional fiction. Interestingly, there's not a lot of overlap in terms of things I hate between the two. Fan and pro fiction have different crutches, and thus when they irritate me they do so for very different reasons. I gripe a lot about fanfic, so today I am going to bitch about something I hate more than almost anything in professional writing: the Bullshit Reversal.

The Bullshit Reversal is ubiquitous in movies and is fairly common in novels. It may even have a trope name on TV Tropes, but I don't know and I'm not wading in there. This is what the Bullshit Reversal is, and how it goes down:

CAPTAIN EXPOSITION. "I want you to do something that the audience will find entertaining."
HERO. "I'm not going to do that."
CAPTAIN EXPOSITION. *some bullshit*
HERO. "Okay, I'll do it."

A prominent recent example is Ken Watanabe's declined-then-accepted job offer to Leonardo DiCaprio in INCEPTION. This is also a rare case in which the hero actually has a compelling reason for the initial rejection. Usually, it's just that the hero doesn't want to. This is annoying from an audience perspective, because most of the time the hero is rejecting the basic premise of the movie. I have put down my money to see the hero do something, only to learn that the hero doesn't want to do it. To make this particularly vexing, a lot of the time it is something *I would give my left nut to be able to do.* So right off the bat, the movie is making its main character the enemy of the audience: I want to see awesomeness happen, and the hero is STANDING IN MY WAY.

(This problem is not confined to the Bullshit Reversal. In a lot of martial arts flicks, the hero is the one who doesn't want to fight, does everything to avoid a fight, when we're there to watch him have some fucking fights. In NEVER BACK DOWN, for example, the hero literally does nothin' but.)

The good news is that the Bullshit Reversal usually is resolved quickly. There are two ways this happens. Captain Exposition either offers the hero an incentive or threatens the hero. Either way, the hero grudgingly agrees to do what we have paid our good money to see him do, and the movie goes on from there. (Sometimes the hero has to Go Home and Think About It first.)

The biggest problem with the Bullshit Reversal is that most of the time there is no good reason for it. As an effort to create false suspense, it's pretty ineffective. I think more of its ubiquity may be a desire to hang a lampshade on the fact that the hero is nuts to get involved in a problem that is not directly in their bailiwick. Also, one should never discount the DIE HARD factor: one reason the original DIE HARD is so compelling is that its hero is panicked, desperate, terrified, and would rather be literally *anywhere else* than in that movie. So a lot of folks making movies think, hey, you know what would make this movie better? If our hero doesn't want to be in it! The problem is, of course, just because that's a great idea for DIE HARD doesn't mean it's a great idea in your movie, especially if you're making a movie about a protagonist who does have a choice to take up the cause he's offered. Because here is a paradox: if your hero is unexpectedly dropped into a situation and deals with it, that makes your hero look awesome. If your hero decides to enter a situation and deals with it, that makes your hero look awesome. If your hero decides not to enter a situation and gets dropped into it anyway, that makes your hero look *ineffectual.* Why would I want to watch this asshole try to stop the Villain, when he can't even outmaneuver the guy who fucking hired him?

The Bullshit Reversal is one of those things that it's painfully easy to write, just because it happens so often that you can trick yourself into assuming that this is how things are supposed to go. I hate this trope, and still I caught myself writing it in an original story I am puttering on: the protagonist is asked to do something, and initially demurs, then reconsiders. This is a Bullshit Reversal, and wastes the audience's and story's time. I dealt with this by realizing that the person who should be reversing is Captain Exposition. My Captain Exposition is a decent person who desperately needs help of the sort my untrustworthy and frightening Protagonist could provide, but for those very reasons would never in a million years ask Protagonist to help. So in the revised opening of the story, Protagonist sniffs out that Captain Exposition is in a jam, and then sets out to discover the problem and help Captain Exposition to the best of Protagonist's alarming ability, *whether Captain Exposition wants Protagonist to be helping or not.* Bullshit Reversal: avoided!

ETA: [personal profile] wordweaverlynn points out that this is probably due to the overuse of Joseph Campbell's "Hero With a Thousand Faces." And I don't know how I missed it. It's amazing how many folks are treating it as a ticky box, without understanding why or when to use it.

Originally posted on my DW. | comment count unavailable people have commented there. | Do so yourself, if you like.


Posted by: Sinanju (sinanju)
Posted at: March 4th, 2012 03:00 am (UTC)

You speak the truth, sir!

One of the great things about DIE HARD is how hard our hero works to NOT be the sole protagonist. Fight a bunch of well-trained, well-equipped, murderous sociopaths all by himself? In his bare feet? Are you nuts?

He'll call the chauffeur in the limo to get help. No? Okay, he'll summon the fire depart--dammit! He'll call the police. They blow him off. And so on. He's doing all the things a (smart) normal person would do, and only after they all fail does he get midieval on the terrorists' asses.

After all, he's just a cop. Well, it turns out he's a mean, mother-bleeping action hero of a cop, but he couldn't know that beforehand and he didn't want to find out. It worked great in DIE HARD.

When (by definition) mean, mother-bleeping action hero Arnie (or whoever) can't be bothered, it's a different story. The only thing worse than the Bullshit Refusal is the They Killed My Dog! Now They Must All Die Reversal.

Posted by: David Hines (hradzka)
Posted at: March 4th, 2012 02:05 pm (UTC)

One of the great things about DIE HARD is how hard our hero works to NOT be the sole protagonist.

Yes. OMG, yes, this.

Posted by: Rachel M Brown (rachelmanija)
Posted at: March 4th, 2012 03:45 am (UTC)
FMA: Ed among the ignorant

It bugs me too.

I think the other factor is that at some point, it became a thing that all heroes had to be reluctant. Why? I don't know. Maybe because they were supposed to be people the audience could identify with, and it was assumed by the writers that audiences didn't want to heroes, or didn't believe in heroes, or thought heroes were stupid, or something.

It hits a point of ridiculousness when not only does the audience enjoy and identify with the desire to be a hero, AND want to see the hero doing stuff, but there is no good reason not to go for their heroic destiny and the heroic destiny seems desirable.

Exposition Dude: "You have awesome magic/mutant powers. Want to have amazing adventures and save the world? Note that the world includes everyone you love. Also, if you don't save the world, you too will be among the dead.

Reluctant Person: "Yeccch, awesome powers? Have adventures? Do great good, save everyone I love, and also save myself? Drop dead! I'll go back to my lonely little farm/cubicle now."

Posted by: David Hines (hradzka)
Posted at: March 4th, 2012 02:27 pm (UTC)

Relevant OGLAF is relevant (and NSFW).

Posted by: A large duck (burger_eater)
Posted at: March 4th, 2012 07:09 am (UTC)

The Gilligan Cut!

Seriously, that's the name. The Skipper tries to get Gilligan to climb a tree (for example) and the little buddy is all "No, No way will I ever climb that tree!"

CUT TO: Gilligan sitting in a tree.

The laugh track always thought it was funny.

Hey, even Luke Skywalker "Refused The Call" at first because adventures suck! People shoot at you! Your space ship explodes after one hit like it's made of dynamite! Heroing is a shitty gig. I'd turn it down at first, too.

Posted by: David Hines (hradzka)
Posted at: March 4th, 2012 02:08 pm (UTC)

Wordweaverlynn has pointed out that this is Refusing the Call, a Joseph-Campbellian stage. Gilligan Cut actually handles it better -- they jump straight to the chase. I'm actually fond of the Gilligan Cut, truth be told.

Beginning heroes refusing the call is one thing (though still annoying). It's when supposed badass heroes refuse it that I get really vexed. We don't need to see the Hero make the same Journey over and over and over again...

6 Read Comments