Trope Talk: Trickster Heroes
Summary
TLDRThe video script explores the complex concept of heroism, particularly focusing on the 'trickster hero' archetype. It challenges the traditional notions of heroism, which are often associated with bravery, unselfishness, and nobility, by highlighting the morally ambiguous nature of many ancient Greek heroes and the feudalistic roots of the term 'noble.' The script delves into the characteristics of trickster figures in mythology and folklore, such as Coyote, Raven, Anansi, Loki, and Sun Wukong, who often use cunning and deceit for the greater good. It discusses how trickster heroes, like Spider-Man, are reactive, using their intelligence and resourcefulness to overcome more powerful adversaries. The narrative also touches on how these heroes can appear more heroic by protecting the innocent and manipulating villains into their own downfall. The script concludes by emphasizing that a hero's worth is not determined by their appearance or methods but by their actions and the good they achieve, even if those actions involve deception and trickery.
Takeaways
- 📚 The concept of 'heroism' is culturally dependent and lacks a strict definition, often associated with bravery, unselfishness, and nobility.
- 🤔 Traditional hero archetypes, especially from Ancient Greek narratives, may not align with the modern understanding of unselfishness and nobility.
- 🏰 The principle of nobility in heroism has historical roots in feudalism and the divine right of kings, influencing our perception of social rank and virtues.
- 🧐 Defining an 'antihero' is challenging due to the vagueness of the concept of a hero, which leads to a lack of clarity for its opposite.
- 🌐 Trickster figures are prevalent in worldwide folklore and mythology, often serving as culture heroes despite their manipulative and cunning nature.
- 🦊 Examples like Coyote, Raven, Anansi, Loki, and Sun Wukong illustrate the dual role of tricksters as both problem-causers and heroes in various mythologies.
- 🔥 Trickster heroes often use their cunning to help humanity, sometimes inadvertently, as seen in stories like Prometheus stealing fire or Raven teaching humans to wear clothes.
- 💡 A trickster hero's approach involves outsmarting a more powerful antagonist, as they typically face insurmountable odds if relying on brute force alone.
- 🎭 The personality and motivation of a trickster hero should be sympathetic and aligned with a good cause, ensuring their actions are perceived as heroic despite their deceitful methods.
- 🕷️ Trickster heroes are reactive, using their skills to counteract the actions of a villain, which can make their behavior more palatable and justified.
- 🕷️ Classic trickster tactics involve manipulating the villain into causing their own downfall, as seen in the Brer Rabbit stories, using the enemy's strength against them.
Q & A
What is the main challenge in defining 'heroism'?
-The main challenge in defining 'heroism' is that it lacks a clear-cut definition and is heavily dependent on cultural context. It is an ideal and a standard that is not strictly defined but rather felt as a 'vibe'.
Why is it difficult to apply the moral standard of unselfishness to archetypical Ancient Greek heroes?
-It is difficult because many Ancient Greek heroes did not necessarily embody unselfishness, often displaying traits that were more self-centered or aligned with personal glory.
How is the concept of nobility related to the historical context of feudalism?
-Nobility as a core precept of heroism is a remnant from the feudalism era when the divine right of kings was a foundational belief, linking social rank with moral worth.
What is an 'antihero' and why is it difficult to define?
-An 'antihero' is a character that lacks conventional heroic attributes, often displaying flaws and vices. It is difficult to define because the concept of a hero itself is not clearly defined, making its antithesis equally ambiguous.
How do trickster characters typically achieve their goals?
-Trickster characters achieve their goals through manipulation, lying, stealing, and sneaking, using cunning schemes to deceive others into giving them what they want.
Why are trickster gods and culture heroes often seen as both antagonists and heroes?
-They are seen in this dual role because, despite causing problems or acting as antagonists at times, they often use their cunning to achieve positive outcomes, contribute to the world's creation, or help humanity, aligning with heroic traits.
What is a common trait among mythological tricksters?
-A common trait among mythological tricksters is that they often use their tricks to help humanity, either deliberately or accidentally, showcasing a duality of mischief and beneficence.
How does the trickster hero's approach to conflict differ from that of a traditional hero?
-A trickster hero uses cunning and manipulation to overcome more powerful antagonists, rather than relying on brute force or physical strength. They are often reactive, responding to threats with strategic trickery.
Why is it considered heroic for a trickster hero to fight unfairly?
-It is considered heroic because the trickster hero is typically facing an antagonist in a situation that is already unfair. Using trickery is a way to level the playing field and protect the innocent or achieve justice.
How does the trickster hero's playbook often involve the villain causing their own downfall?
-The trickster hero manipulates the villain into actions that lead to their own problems or undoing, leveraging the villain's own strengths or desires against them.
What is the role of smugness in making a villain more detestable and a trickster hero's victory more satisfying?
-Smugness in a villain makes them overconfident and arrogant, which the audience resents. When a trickster hero defeats such a villain, it not only stops their villainous actions but also serves as a comeuppance for their smugness, making the hero's victory more gratifying.
How does the character of Lieutenant Columbo from the TV show 'Columbo' exemplify the trickster hero archetype?
-Lieutenant Columbo uses a combination of deception, misdirection, and keen observation to solve cases. Despite his deceptive tactics, he is shown to be compassionate and dedicated to justice, which makes his methods acceptable and his character heroic.
Outlines
🤔 The Ambiguity of Heroism and the Trickster
This paragraph discusses the elusive nature of heroism, which is often associated with bravery, unselfishness, and nobility. However, these traits are historically contingent and culturally variable. The text points out the difficulty in defining a hero, especially when comparing them to the often manipulative and cunning trickster figures found across various mythologies and cultures. Trickster characters are known for their deceitful tactics to achieve their goals, which contrasts sharply with traditional heroic ideals. The paragraph also touches on the complexity of creating a 'Trickster Hero,' a character who embodies both heroic qualities and trickster traits, such as Loki from Norse mythology or Sun Wukong from Chinese legend.
🦊 The Reactive Nature of the Trickster Hero
The second paragraph delves into the characteristics of a trickster hero, emphasizing their reactive nature. Trickster heroes often find themselves in unfair situations, facing more powerful adversaries. Unlike traditional heroes who might rely on physical strength or social status, trickster heroes use cunning and deceit to overcome their opponents. The paragraph highlights that these heroes are fundamentally motivated by a desire to protect or help, even if their methods are unorthodox. It also discusses how trickster heroes often manipulate villains into causing their own downfall, a strategy that aligns with the concept of using an enemy's strength against them. Examples include Spider-Man's tactical use of his environment and the classic Brer Rabbit story, where the trickster hero outsmarts his captor.
🕵️♂️ The Role of Smugness and Protection in Defining a Trickster Hero
The final paragraph explores additional elements that justify the actions of a trickster hero. It discusses how a trickster hero's fight on behalf of a sympathetic character can make their manipulative tactics seem more heroic. The text also highlights the importance of the villain's smugness, which can make their defeat more satisfying for the audience. The paragraph uses the example of the TV show 'Columbo' to illustrate how a trickster hero can use deception and misdirection to solve problems and bring justice. The character of Columbo is portrayed as a compassionate and dedicated individual whose dishonesty is a tool used exclusively against villains. The key takeaway is that a trickster hero is defined not by their skills or appearance, but by the good they do and the cleverness with which they achieve it.
Mindmap
Keywords
💡Heroism
💡Trickster Hero
💡Unselfishness
💡Nobility
💡Cultural Context
💡Antihero
💡Manipulative Schemers
💡Underdog
💡Foil Dynamic
💡Reactive
💡Selflessness
Highlights
Heroism is a soft-edged concept heavily dependent on cultural context
An alleged hero can quickly lose goodwill if they don't align with current moral standards
Being a hero has standards, while being a protagonist just requires being in focus
Trickster characters are manipulative schemers who deceive to get what they want
Trickster gods and culture heroes often play an antagonist role but also contribute to the world through cunning
Trickster figures like Coyote, Raven, Anansi, Loki, and Sun Wukong are prevalent in worldwide folklore and mythology
Many mythological tricksters use their tricks to help humanity, either accidentally or deliberately
Trickster hero's primary skillset is manipulating situations to their advantage through cunning, not brute force
Trickster heroes often face more powerful antagonists, acting as underdogs
A trickster hero's personality and motivation need to be decently heroic, using their tricks for a good or sympathetic cause
Trickster heroes are reactive, their deceit driven by responding to a powerful adversary causing problems
The classic trickster superhero is Spider-Man, who uses creativity and cunning to outsmart stronger enemies
Trickster heroes often stop the bad guy by convincing them to cause their own downfall
In trickster stories, the villain's smugness and overconfidence can lead to their defeat
Columbo is an example of a trickster hero who uses lies and misdirection to bring down smug, powerful villains
Trickster heroes are defined not by their skills, but how they use them for good
A hero is defined by the good they do, not how closely they fit a hero archetype
Transcripts
"Heroism" is one of those really annoying things that doesn't have a clear-cut definition
in any meaningful sense, but so much of our understanding of storytelling and characterization
is built on it.
The current dictionary angle highlights bravery, unselfishness and nobility as the principles
embodied by a hero, which sounds fine and dandy until you (a) try to hold any of the
archetypical Ancient Greek heroes to the moral standard of unselfishness and (b) notice that
nobility as a core precept of heroism is a holdover from the feudalism days when the
divine right of kings was more foundational to most people's worldviews than gravity.
There's no other reason the word for "inheriting social rank" is the same word as "traits that
make you the best kind of person" - or, for that matter, why the word for "common peasant"
is "villein".
I once went down an unhinged rabbit hole trying to cleanly define an antihero, because it
turns out if a concept doesn't have a definition, neither does its antithesis.
Heroism is an ideal, a standard, a soft-edged concept heavily dependent on the snapshot
of cultural context it forms in.
It's not something we can lay strict parameters on - it's a vibe.
And because it's a vibe, people are pretty good at feeling out when a character trait
doesn't fit that vibe.
An alleged hero can lose their goodwill and dessert privileges very quickly if they don't
check all the boxes on the current edition of the moral absolutism rubric.
It's easy to be a protagonist - all you need for that is to keep the camera on you.
Being a hero has standards.
Which is why it can be kind of complicated to make a Trickster Hero.
Trickster characters in general are pretty simple.
They're manipulative schemers who get what they want by fooling people into giving it
to them.
Typically their favored strategies include lying, stealing, sneaking and generally doing
everything in their power to not be wholly perceived and understood, because if that
happens it gives the game away and makes their plans eminently thwartable.
Which is a pretty complicated set of characteristics
to give… to a hero.
Now again, part of this is because of my perennial nemesis, the fact that "hero" does not actually
have a solid definition.
For instance, while trickster traits might feel fairly antithetical to an america-centric
cultural concept of what heroism looks like, there are a metric buttload of trickster gods
and culture heroes that maybe spend a slice of their time playing antagonist causing problems
for the rest of the pantheon, but the bulk of their time is spent as the hero, winning
personal victories or contributing to the creation and shaping of the world through
cunning schemes.
Tricksters are such a staple of worldwide folklore and mythology that there's whole
swaths of study dedicated to conspiracy-boarding why they're like that.
For an easy handful of examples, various versions of Coyote and Raven crop up as trickster figures
in several indigenous North American cultures, Anansi originated in West Africa and gets
up to a lotta hijinks that later got blended together with other trickster figures like
Brer Rabbit, Loki is obviously a pretty archetypical
trickster and schemer in the space of Norse
mythology with the interesting twist that he gets his ass kicked a lot and the secondary
twist that chief god Odin is also a trickster figure while also being 100% the boss, and
then you get powerhouses like Sun Wukong who, despite having the power of god and anime
on his side, continually has to use sneaky tactics and shapeshifting to outwit the opponents
he can't just punch through a mountain or two.
There's a lot of interesting threads through various mythological trickster stories that
we're not even gonna try to fully unpack here, but do have some interesting implications
for the discussion of trickster heroes.
For one thing, a lot of these mythological tricksters have a tendency to use their tricks
to help humanity, either accidentally or deliberately.
One of the most iconic examples of that is Prometheus purposefully stealing fire from
the gods and giving it to humanity, which is an unconditional positive that he is very
harshly punished for.
You also get things like the Inuit story of frequent sneaky trickster Raven being the
first teacher of humanity, getting everyone up to speed on the whole "wearing clothes"
and "dying less" thing.
A lot of Diné folklore about Coyote is pretty negative, but there's at least one story where
he saves humanity from a child-eating giant by convincing him that letting Coyote break
his leg will be great for his long-term
child-eating career.
So clearly, trickster traits and heroism - or
at least protagonist status bundled with do-gooding
- go hand in hand a lot.
But I'm not presently qualified to delve into folkloric tricksters any deeper than I already
have, and besides, we don't need to caveat heroism itself to justify the existence of
trickster heroes.
There are ways to make a protagonist heroic while still letting them get their scheme
on, and that's a very interesting duality I'd like to explore.
A trickster hero's primary skillset is in manipulating a situation to their advantage
through cunning and trickery rather than brute force.
Generally they are in some way an underdog facing some sort of more-powerful antagonist,
and if they fought that antagonist on the terms the antagonist defined, they would 100%
lose.
This is a classic foil dynamic, where the protagonist and antagonist have contrasting
qualities instead of being very similar to one another.
A villain who is extremely strong and durable might get pitted against a hero who's fast
and sneaky.
A villain with a ton of money and political power - like a noble of some kind - might
go up against someone without much of either.
A villain with access to a powerful weapon will probably find themself dealing with heroes
that are hard to hit with it.
You may note, this isn't so much a battle of equals as it is an overwhelming antagonistic
force facing heroes that need to work pretty hard to not just be flattened.
Brute force can take a lot of forms, whether it's physical strength or social capital or
political power or technological supremacy.
In contexts where the villain is well-situated to just bulldoze their enemies, the heroes
will need strengths and strategies that make them much more un-bulldozable.
Which is 100% a word.
Merriam and Webster told me themselves.
Now because "trickster" basically just describes a skillset, there's no real restrictions on
a trickster character's personality or motivation.
But in order for them to qualify as a trickster hero, that personality and motivation needs
to be decently heroic.
They need to be using their sneaky trickster-ness for a good cause, or at least a sympathetic
one.
And again, because heroism is a vibes-based value judgment, their sneaky trickster-ness
can't be so over-the-top as to outweigh their good-guy qualities.
It's frequently considered heroic to be honorable and fight fair, but of course a trickster
hero facing a powerful enemy is in a situation that is already unfair and blatantly skewed
against them, and if they try to fight "fair" under those conditions, they're just going
to lose.
The number one trait most trickster heroes share is that they're fundamentally reactive.
All their lying and scheming is done in response to some powerful jerkface rocking up and causing
problems.
This already goes a long way towards making trickster qualities feel more heroic, because
the target of their wrath is the instigator of the whole situation.
Bugs Bunny doesn't start causing trouble until Elmer Fudd pokes his shotgun where it doesn't
belong.
This is also how most trickster superheroes work - their very motivating origin stories
are the result of bad guys causing problems in their presence, inspiring them to stand
up and do something about it.
Superheroes exist to solve problems, and if a superhero's powerset doesn't just let them
hit the problem til it goes away, they need to be sneakier and more creative about it.
Probably the most classic trickster superhero is Spider-Man.
He's smart, quippy and creative with his powers, but most of his enemies are physical tanks
like Rhino or Sandman or Venom.
Spider-Man may be strong, but he's not Superman.
He can't just punch people into orbit if they're getting inconveniently rowdy.
Instead he typically has to use the terrain to his advantage, luring his opponents into
environmental hazards or exploiting some flaw he's noticed in their powerset - like the
first time he fights The Rhino in Spectacular
Spider-Man, he realizes Rhino has a huge overheating
problem and lures him into the steam tunnels to knock him out with super-heatstroke.
The fact that this isn't exactly honorably chivalric combat doesn't do anything to diminish
Spider-Man's heroism - it just makes him seem smart, and everything he's doing feels necessary
because the extremely destructive bad guys he's stopping are very, very hard to stop.
And there's another interesting element to a trickster hero's playbook.
Usually a trickster hero stops the bad guy, not by doing things to the bad guy until they
stop being a problem, but by convincing the bad guy to do things themselves that turn
out to have undesirable outcomes.
The agency is all on the villain, which is of course the problem the hero is facing when
the story starts - the antagonist turns up to cause problems, and the protagonist doesn't
have access to the kind of raw power that would let them just make the villain stop,
so instead they have to shape the villain's actions until they either choose to stop causing
problems or physically can't continue.
The villain in this scenario isn't suffering anything they didn't literally bring on themselves
- the only twist is that they didn't think it was going to affect them.
It's a classic case of using the enemy's strength against them.
An extremely textbook demonstration of this is an old Brer Rabbit story, where Brer Rabbit
finds himself seized by his perennial nemesis and local carnivore Brer Fox.
Faced with the prospect of being straight-up eaten, he begs and pleads with Brer Fox to
please oh please don't throw him into that briar patch over there.
This wasn't something Brer Fox was previously considering - he was just gonna torture him
a lil bit and then eat him - but the more Brer Rabbit begs him not to throw him into
that briar patch, the more Brer Fox wants to, just to make him suffer.
In the end he succumbs to temptation and yeets Brer Rabbit into the briar patch, only for
Brer Rabbit to expertly navigate the briars without a scratch and vanish into the underbrush
where Brer Fox can't follow.
As he explains from a safe distance, Brer Rabbit was born and raised in a briar patch.
This is a very classic con.
A trickster hero faced with a cruel antagonist can convince them to do almost anything if
they think it'll hurt somebody they want to see suffer.
And more broadly, to generalize off this model, the number one way a trickster can get an
antagonist to do what they want is to figure out what the antagonist wants and convince
them that they can get it by doing this one thing.
If they wanna hurt people, oh this would hurt me sooo much.
If they want power, oh this would make you so strong!
If they want money, oh I have so much cash and absolutely no street-smarts it'd be a
shame if somebody scammed me out of it!
Leverage, being a con-of-the-week show, always starts with our crew of heisting heroes figuring
out what the villain of the week wants most and then building a scam about making them
think they're gonna give it to them.
And Leverage is a good segue into another way a writer can make a crew of schemers and
scammers seem heroic by contrast: beyond making them fundamentally reactive, give them somebody
completely sympathetic to protect.
A trickster fighting on their own behalf is in a slight gray area no matter how terrible
their enemy might be, since they're still putting their enemy through hell because of
some personal slight - but a trickster fighting on behalf of a helpless innocent without a
dishonest bone in their body is tapping directly into the foundational tenet of modern heroism:
selflessness.
Now their unheroic, manipulative strategies are just a means to a very good end, and the
more helpless and honest the victim, the more justified our hero's scheming will appear.
This is also a very useful strategy a writer can use to make the antagonist more threatening,
since if we only ever see them face off against a trickster hero that knows exactly how to
run circles around them, they're gonna come across as bumbling or even downright comedic,
which is frequently the intent.
But if the writer really wants to convince the audience that this overwhelmingly powerful
bad guy needs to be taken down and they're too powerful for anyone to do it openly, it's
very helpful to demonstrate what their villainous brute force looks like.
So they'll dash an innocent person's dreams, gloat about how untouchable they are, taunt
their victim to just try and make them face consequences and march off with the local
police force in their pocket, overall making it clear how absolutely on top of the world
they are.
These guys are trickster bait.
They are so unbelievably awful that the audience
wants to see them taken down, but so well-established
and well-connected that the existing systems of authority that are supposed to stop that
sort of thing are barely more than suggestions in their presence.
Like with most cases of trickster bait, the only thing powerful enough to destroy them
is themselves, and the trickster just needs to convince them it's a really good idea to
do the things that make that happen.
And this ties into one more thing that can make a trickster hero feel completely justified:
if the villain is smug.
Smugness is a very dangerous thing for a villain to indulge in, because villains are, by their
narrative nature, set up to fail, and a villain confident in their victory to the point of
gloating about it is baiting the audience into seeing them defeated.
Plenty of villains get a dignified defeat where they acknowledge a worthy opponent,
or they get in one little token victory that keeps their downfall from feeling absolute.
You can even defeat a villain in a way that does absolutely nothing to disprove their
worldview if you've got a fondness for ambiguity or disappointment.
A strong villain who gets defeated by somebody stronger than them might be like "wow I didn't
know anyone was stronger than me, this defeat reaffirms my might-based values system and
makes me want to get even stronger."
A strong villain who gets defeated by somebody totally weak who did nothing but outsmart
them is the kind of worldview-shattering experience
that might leave them rethinking their entire
life.
When a villain is smug, it means they're confident that they're untouchable in every way that
matters.
It's not just about whatever their villainous goal is, it's about making sure everybody
knows how powerless they are to stop it.
We don't just want to see villains lose: we want to see them proven wrong.
And when the villain is smug, that means we want to see them utterly fall apart.
This writing strategy comes up in several episodes of Columbo, an unusual detective
show with an unusual trickster hero.
It's kind of an inside-out whodunnit where every episode starts with the audience seeing
the villain of the week committing a murder and flawlessly covering it up.
They're almost unilaterally ridiculously rich and powerful, and they all very cleverly construct
a scenario that looks like a perfect murder.
Not only are they sure they'll never be caught, most of the time they're sure they'll never
even be suspected.
And when the cops roll up in the opening of the episode, they typically take in the scene
as presented and immediately come to the conclusion
the killer wanted them to reach.
All, that is, except for Lieutenant Columbo, a small, jovial man in an extremely rumpled
coat who only ever seems to be half-paying-attention.
Columbo is an interestingly opaque character, because for the bulk of any given episode
he is being 100% dishonest.
He'll lie about why he's turned up somewhere incriminating, he'll lie about not suspecting
the villain of the week, he'll lie about how he totally buys their bullshit explanation
covering over some flaw he pointed out in their alibi, he'll lie about his wife or his
boss pushing him to spend more time with the villain even though obviously he'd like to
get out of their hair.
This is so extreme that, through the entire run of the show, the audience never sees his
often-referenced wife and for the first few seasons we never receive
any evidence that she exists at all, and we never even learn his first name.
We know almost nothing about this guy, and everything we learn is usually something he's
telling the villain of the week that therefore can't be trusted.
He usually favors softball lies - lies of omission or deflection rather than outright
falsehoods - and most of the time it's still pretty clear to the audience when he figures
something out and broadly what he's planning.
But in general, the first time in any given episode where Columbo even indicates that
he thinks the villain of the week did the murder is at the beginning of the final scene
of the episode where he reveals how they did it - when he starts saying what the audience
already knows he's been thinking the whole time.
He almost never makes an accusation if he doesn't already have the evidence to completely
shred their alibi.
Alongside all the lying, the trickster part of his character is mostly dedicated to hiding
in plain sight.
The bad guys never know exactly how much he knows, how much he suspects, and how much
he can prove.
He won't even give them the satisfaction of knowing for sure that he thinks they did it.
The reason this level of dishonesty works without making Columbo feel in any way bad
or unheroic is because of the context in which he uses it.
On the occasions we see Columbo hanging out with peers or innocent bystanders he's just
as friendly and jovial as ever, showing that that part of him isn't an act to off-balance
the bad guys.
He's kind and compassionate to grieving survivors, whenever a villain of the week tries to frame
somebody he's always very reassuring to them - and every once in a while we get a real
glimpse at how he's honestly feeling, and see a man who is profoundly dedicated to the
pursuit of justice.
We don't get his backstory, we don't get personal angst, we don't get any sort of character
arc - just a guy who's ridiculously good at his job methodically sneaking his way through
a web of lies and misdirection until he can take down a smug murderer in a single stroke.
Trickster heroes aren't really defined by what they're good at.
They're defined by how they use what they're good at.
A hero isn't defined by how much they look like a hero, but by the good that they do.
Or by how funny it is when they tie a shotgun in a knot and let Elmer Fudd blow himself
up with it.
So… yeah?
5.0 / 5 (0 votes)