My chapter-by chapter analysis of The Hunger Games, chapter 1
Disclaimer: this and all future chapter analyses will contain spoilers for all the books.
What really strikes me about this chapter is what a masterpiece it is; a masterpiece of foreshadowing, establishing moments of characterization, worldbuilding and more, all without ever feeling like we're actually getting infodumped on. This is accomplished with Katniss's stream-of-consciousness storytelling. I've heard it criticized so much, but even aside from the very salient point that it fits her characterization as an emotionally stunted, traumatized, poorly-educated teenage girl, it still helps the story in moments like this. We feel Katniss's inner chaos, and it makes the story that much more immersive.
On to the spoilery part of the analysis:
When I wake up, the other side of the bed is cold. My fingers stretch out, seeking Prim’s warmth but finding only the rough canvas cover of the mattress.
There was a post, a while ago, that I can't find but wish I could. In it, the OP talks about how Prim is literally doomed by the narrative, not "heavily foreshadowed death," but literally doomed by the narrative, and this paragraph is the first sign, because Katniss reaches for Prim and feels emptiness instead. And re-reading this, I agree. The first thing we see Katniss do is reach for Prim, and find nothing. This time, it's temporary, but by the end of the series, it won't be. We've been warned, even if we don't realize it yet: Prim is doomed.
Scrawny kitten, belly swollen with worms, crawling with fleas. The last thing I needed was another mouth to feed. But Prim begged so hard, cried even, I had to let him stay. It turned out okay. My mother got rid of the vermin and he’s a born mouser. Even catches the occasional rat. Sometimes, when I clean a kill, I feed Buttercup the entrails. He has stopped hissing at me.
Katniss loves her sister and will do literally anything for her. Katniss also has no moral qualms about drowning kittens. With just one paragraph, we learn what a simultaneously harshly practical yet beautifully caring, loving person Katniss is. She has no room in her life for useless things like pets, and drowning strays probably helps the people of 12 in the long run by leaving vermin to be eaten by those on the verge of starvation. But her sister wants to keep Buttercup, and so she will. Katniss will sacrifice anything to keep Prim happy.
Foreshadowing. Prim is doomed.
Entrails. No hissing. This is the closest we will ever come to love.
STILL more foreshadowing, for different themes: both for one of Katniss's biggest complexes (I'll get into details about this later) and for the theme of love. Katniss doesn't truly love anyone but Prim. Her entire world, we know, is going to be shaken when she does finally feel that for someone else again. Once again, we are being introduced to the recurring themes of love vs practicality and the classic question, "how much pain is love worth?"
Katniss is going to answer this question again and again: for Prim, there is no amount of suffering too great. For others... she'll find different answers. Eventually.
My father knew and he taught me some before he was blown to bits in a mine explosion. There was nothing even to bury. I was eleven then. Five years later, I still wake up screaming for him to run.
The first hints of Katniss as a deeply traumatized girl emerge. Sometimes, when you're traumatized enough, thoughts can segue into The Event with no warning, just by proximity. And through the combination of blunted language and stream-of-consciousness leaps, we can see just how broken this has left Katniss. Unfortunately, this is only the start of Events for her.
My father could have made good money selling them, but if the officials found out he would have been publicly executed for inciting a rebellion. Most of the Peacekeepers turn a blind eye to the few of us who hunt because they’re as hungry for fresh meat as anybody is. In fact, they’re among our best customers.
A brilliant bit of worldbuilding. The Peacekeepers are working off of deeply corrupt laws, which they ignore because they too are being mistreated and systematically starved, even if they aren't as at risk as the people of 12. The system doesn't care about the very same people it safeguards to enforce its rules. This is the first hint we get that the system isn't sustainable, and it comes before we even fully understand what kind of hell this government is.
The theme of "bread and circuses" is going to be hammered down to us again and again that this is how tyrannical governments, including this one, pacify the masses. But when only the bourgeoisie are being given the bread and circuses, well.... the proletariat aren't going to take it forever.
The book hasn't shown itself to be the anti-capitalist masterpiece it is yet, but this is the first hint that we're reading a tale of class warfare.
“District Twelve. Where you can starve to death in safety,” I mutter. Then I glance quickly over my shoulder. Even here, even in the middle of nowhere, you worry someone might overhear you.
I have seen criticisms that this is an egregious case of showing and not telling, with Katniss constantly talking about the dangers of badmouthing the government while never facing them. But in truth, it's the opposite. Yes, Katniss hasn't been caught despite repeated statements that she could have, but we'll learn, here and in future chapters, that 12 has been receiving a sort of tradeoff with other districts; their more severe poverty places them below notice. No one thinks them capable of causing real trouble, and even their district specialty- coal- is later proven to be basically useless, busy-work. So they get ignored... for now. Until the oligarchs start seeing what the proletariat can actually do and crack down all the harder to ensure they keep their cheap labor.
Are you seeing the resonance with the real world yet?
Even at home, where I am less pleasant, I avoid discussing tricky topics. Like the reaping, or food shortages, or the Hunger Games. Prim might begin to repeat my words and then where would we be?
Here we see the dual themes of parentification and sacrifice. Katniss will be the adult, even though she ISN'T an adult, for her sister. She will keep quiet on things that hurt her, and upset her, to set a better example for her sister and keep her from getting hurt. Prim gets to have the normal and safe childhood Katniss never had, because Katniss has invested everything into ensuring she does.
We are taking a step up the ladder of self-sacrificial acts, here. In other words: more foreshadowing. Katniss will give everything for Prim. Prim is going to die, because Katniss is going to lose everything she cared about in the process of protecting everything she cared about.
In the woods waits the only person with whom I can be myself.
Katniss can't be a teenage girl. She has to be Prim's mom. She has to be tough. She has to be a provider. She has to be a trader. An advocate. She so rarely complains about it, too. But it shows here just how much she's given up. Only one place, and one person she can be herself with, and yet...
Gale.
Isn't this ironic. Because we are about to see, throughout the entire series, that this day is going to be the last time Gale actually lets Katniss be herself (and even here, there are strong hints that Gale wants Katniss to be something very different).*
*Disclaimer, because it seems important: my opinion on the Katniss/Gale vs Katniss/Peeta ship war is "team nobody." I think both of them were very bad for her in different ways. Any comment I make that seems like it is favoring one ship or the other... isn't.
“Hey, Catnip,” says Gale. My real name is Katniss, but when I first told him, I had barely whispered it. So he thought I’d said Catnip. Then when this crazy lynx started following me around the woods looking for handouts, it became his official nickname for me.
Maybe I'm overanalyzing, but I feel like this sums up the Katniss/Gale relationship so much. Katniss tries to speak, and Gale doesn't hear or understand her. Gale projects something onto her, and Katniss rolls with it. Sure, in this case it's a cute nickname, but it represents so much more to me.
Gale doesn't understand Katniss. Fundamentally. He understands the Katniss he wants to exist. The one who will run off with him and play house in the woods and indulge his little fantasies. He doesn't know very much about the real Katniss, at least as long as he's looking at her through a romantic lens.
“Look what I shot.” Gale holds up a loaf of bread with an arrow stuck in it, and I laugh.
Despite what I just said, I do love Gale and Katniss's friendship, and it breaks my heart that their friendship was as doomed as Prim. (Hint. Hint.) Katniss needed someone who understood the unique pain of parentification due not to abuse, but poverty- the kind where you aren't 'allowed' to feel angry at anyone within reach. Which is the worst kind of injustice. Getting mad at someone who harmed you is one thing, but getting mad at a system you can never (... yet) hope to change is different.
She must have really loved him to leave her home for the Seam.
It's said in a casual and sort of admiring way here. But Katniss is going to learn firsthand about the intersection between love and sacrifice. With the generational mirroring as a theme, especially between Katniss and Peeta, we're being given more foreshadowing that Katniss has self-sacrifice "in the blood."
I try to remember that when all I can see is the woman who sat by, blank and unreachable, while her children turned to skin and bones. I try to forgive her for my father’s sake. But to be honest, I’m not the forgiving type.
Another little glimpse into Katniss's pain and trauma. Her mom wasn't there when Katniss needed her most, and Katniss and Prim both almost died as a result. It wasn't her fault, and we see later that she regrets it deeply, but this still leaves scars. Your parents, above everyone else, are supposed to protect you. Katniss's mom didn't, Katniss nearly died, and because of that, Katniss had to sacrifice what remained of her childhood to become Prim's mom.
Katniss and Prim's relationship never goes back to just normal sisterhood after this. From the moment Mrs. Everdeen's trauma rendered her catatonic onwards, Katniss and Prim's relationship was infused with a mother-child dynamic that never left, not even when Mrs. Everdeen became well again.
It's so painful, all the more so because it's so real. I lived this with my little brother, albeit with stakes maybe 1% this high, when my mom became an alcoholic and my dad was too busy just trying to survive to really do anything. I was the one to take care of him emotionally, to show someone cared, to provoke my mom's anger so he wouldn't be hit, to make sure homework got done and he didn't skip school (I failed. Badly.) He still considers me more his parent than either of our parents. It never really goes away, even when you're both adults; that overdeveloped feeling of responsibility stays with you. Always.
And the worst part of it is when the parent who made you have to do this decides, on their own, that the time is right for them to come back. Katniss's mom is far more gracious about it than my own. She at least understood Katniss's pain, and didn't try to force the role on her; it happened only when Katniss was ready. But that too, as we'll see in a minute, was painfully real for me.
“I never want to have kids,” I say.
“I might. If I didn’t live here,” says Gale.
“But you do,” I say, irritated.
“Forget it,” he snaps back.
The conversation feels all wrong.
Once again, a hint that despite their sweet friendship and similarities, these are two tragically, fundamentally incompatible people. Katniss is in too much pain to think of ever having a family, and Gale is in too much pain to think of not ever having one. Katniss wants to survive the way she always has (which she doesn't realize isn't her destiny yet) and Gale wants to flee and survive literally any other way.
Both change in the end, but the underlying incompatibilities in their life approaches are still there.
And even if we did . . . even if we did . . . where did this stuff about having kids come from? There’s never been anything romantic between Gale and me. [...] Besides, if he wants kids, Gale won’t have any trouble finding a wife. He’s good-looking, he’s strong enough to handle the work in the mines, and he can hunt. You can tell by the way the girls whisper about him when he walks by in school that they want him. It makes me jealous but not for the reason people would think. Good hunting partners are hard to find.
A few very interesting things are happening here. One, we're getting another hint, first dropped during Katniss's thoughts about Buttercup, that Katniss has a pathological inability to believe others actually like her- romantically or otherwise. Part of it is low self-esteem, part of it is putting Prim on such a pedestal that Katniss feels she can never live up (and giving her more self-esteem issues) and feeling like anything she attributes to herself might take away from Prim, and part of it is just raw cynicism. And maybe a dash or two of the feeling of permanent othering trauma gives you. Especially when that trauma involves a realization that you're never going to be able to rely on others to meet your own needs. You're responsible for your needs and your loved ones' too.
(Katniss is one of the most complex and real characters of all time. I relate to Katniss an uncomfortable amount sometimes.)
The other interesting thing is that you're getting a sense, for the first time, of how much trouble Katniss has recognizing and processing her own emotions- a very common trait in neurodivergent people. She can sort-of-understand a feeling of jealousy, but can't quite put her finger on the reason, and fitting with her attitude of relentless practicality, she decides that it's the worry of losing a useful hunting partner. Because, after all, Prim is the only person she loves, she can't care for anyone else, there isn't room for that. To care about anyone else would be to "take away" something from Prim.
Katniss repeatedly raises the question of when self-sacrifice crosses the line into self-harm by proxy. When altruistic love becomes self-negation instead. It's sweet that she loves Prim so much, but the codependence... If this is the benchmark for love for Katniss, it's no wonder that she feels at this point that she can't feel it for anyone else. This isn't sustainable.
(Prim is doomed. We've been warned.)
I found the patch a few years ago, but Gale had the idea to string mesh nets around it to keep out the animals.
This is going to be a recurring theme; Katniss is too impulsive and lacking a sufficient cause-effect pathway to be a planner/strategist. Gale makes the plans now; later it'll be Peeta and Haymitch.
(Also, this is foreshadowing Katniss's lack of agency. She is about to become an audience member in her own life story. She found the strawberries, but she didn't decide what to do about them. Gale did. That's about to become her entire life.)
No one in the Seam would turn up their nose at a good leg of wild dog, but the Peacekeepers who come to the Hob can afford to be a little choosier.
There is a hierarchy still, where the Peacekeepers are starving, but not as starving as the people in the communities they're sent to. Everyone is hungry, but some are hungrier than others.
Hint. Hint.
“That’s not her fault,” I say.
“No, it’s no one’s fault. Just the way it is,” says Gale.
"Remember who the real enemy is." Katniss gets told this repeatedly, by Haymitch and others, and eventually she learns the lesson in time to lead a successful revoltuion.
Gale does not learn this lesson. He will end up destroying everything he cares about in his pursuit of revenge against the Capitol and anyone associated with it.
Gale would normally say that there is a huge difference between Madge, the mayor's daughter who is pampered and comparatively privileged, versus the willfully malicious Peacekeepers; the middle class are still part of the proletariat, after all. But Gale, in his pain and fear, loses sight of it and lashes out. This time, it's just words. By the end of the series, when he gets actual power, it will lead to something far more catastrophic.
Prim is doomed to die, Gale and Katniss's friendship is doomed to end in the most bitter way possible, and Gale is doomed to be his own worst enemy.
Gale knows his anger at Madge is misdirected. On other days, deep in the woods, I’ve listened to him rant about how the tesserae are just another tool to cause misery in our district. A way to plant hatred between the starving workers of the Seam and those who can generally count on supper and thereby ensure we will never trust one another. “It’s to the Capitol’s advantage to have us divided among ourselves,” he might say if there were no ears to hear but mine. If it wasn’t reaping day. If a girl with a gold pin and no tesserae had not made what I’m sure she thought was a harmless comment.
Gale knows he's wrong to say things like that. But again, as said above, his pain and fear get the better of him, and cause pain to those around him. His normal philosophy is correct, but he loses sight of and discards it far too easily.
(Gale is going to lose everything because of his scorched-earth approach to anger.)
Also, a note: this is how the real world operates too. Culture wars to distract from class war. For an entire generation of readers, this was their introduction to the basic principles of socialism.
But what good is yelling about the Capitol in the middle of the woods? It doesn’t change anything. It doesn’t make things fair. It doesn’t fill our stomachs. In fact, it scares off the nearby game. I let him yell though. Better he does it in the woods than in the district.
Katniss is still hung up on practicality. When she rants about the Capitol, she is, subconsciously, crying for help. But venting for the sake of venting doesn't make so much sense to her, given her stunted emotions.
Another bit of characterization I really enjoy here is the realistic teenage behavior. Yes, they're the oldest in their families, responsible for their entire family and only able to support them by hunting, and they should "know better". But they're teenagers in a fascist government, with an already extreme list of traumas and corresponding problems with emotions. Of course they're going to act irrationally at times and scare off game because they're having a meltdown- even non-traumatized teens would do that sometimes!
They're teenagers. Incredibly well-written, realistic teenagers. They don't have fully developed frontal lobes with the corresponding gifts of planning, impulse control, cause-effect relationships, and other things yet. They're more mature than most, but they're still going to behave foolishly sometimes.
Prim is in my first reaping outfit, a skirt and ruffled blouse. It’s a bit big on her, but my mother has made it stay with pins.
This is probably a "the curtains are blue because they're blue!" moment, but this is another bit of symbolism I enjoy. Katniss, at Prim's age, was hunting and entering the Hob. Prim is being kept alive by both Katniss and Mrs. Everdeen. She has a dress that mostly fits. She has good meals now. She is protected where Katniss wasn't. The dress represents both the sacrifices Katniss made for her and the fact that now, Prim has the adoring mother Katniss didn't have. She has two loving people looking out for her, willing to do anything to keep her safe, healthy, and happy.
(Prim is doomed.)
To my surprise, my mother has laid out one of her own lovely dresses for me. A soft blue thing with matching shoes. “Are you sure?” I ask.
Katniss can't comprehend her mom doing motherly things for her. Both because of the parentification, and because Katniss still fundamentally can't believe that anyone, even her own mother, actually cares for her enough to want to do anything for her. Not after four years of Katniss carrying the entire family on her back. It's incompatible with the world she's lived in for the last four years.
Katniss is painfully relatable.
I’m trying to get past rejecting offers of help from her. For a while, I was so angry, I wouldn’t allow her to do anything for me.
Painfully. Relatable.
What Katniss is feeling in this scene, I don't think I can describe to anyone who hasn't been there. It's relief-bitterness-anger-hope-longing-mistrust.
"Oh great, look who's finally here to help now that things are okay again and I figured everything out on my own! I want you back. I want a parent back. I don't want to do this anymore. I can't stop it. I can't trust you not to make me do it again. I'd better keep doing it so I don't get my hopes up. How do I even live without doing this? How do I live as a person and not a caretaking robot for my family? Am I allowed to do that? What kind of selfish person would I be if I did, especially now that I've seen what will happen if you fail again? No, I'm not letting you do this. I'll let you pretend to the little one because they need a parent figure and they deserve to feel normal, but me? Hell no, do you think I'm stupid? I am taking care of myself, I already learned what it costs to trust other people to see to my needs and that is not a price I'll pay a second time, thankyouverymuch. Yeah, mom I love you. I'm glad you're okay now. And thanks for doing this for me, I guess."
It goes something like that.
But I digress.
In just this paragraph Katniss expresses so much of the pain of parentification, so succinctly yet vividly that it makes my chest hurt.
I just really, really love Katniss, okay?
“You look beautiful,” says Prim in a hushed voice.
“And nothing like myself,” I say.
Ow. Just... ow. She says it so matter-of-factly. Like she's just accepted it into her worldview; Prim, the embodiment of everything good in the world, is beautiful. Katniss, the leftover, the thing that exists just to take care of Prim, is ugly. That simple.
I wish we could have seen Prim respond here; surely she doesn't like anyone, even her sister herself, talking about Katniss this way? Or maybe Prim is so used to these kinds of casual self-put-downs that she's stopped trying to talk Katniss out of it.
Again: painfully relatable.
I protect Prim in every way I can, but I’m powerless against the reaping. The anguish I always feel when she’s in pain wells up in my chest and threatens to register on my face.
Once more: Painfully. Relatable. You put so much into protecting 'your kiddo'. And then something comes along and reminds you that you're even more powerless than the useless adults in your life. It hurts. It feels like you failed. It's one thing for you to get hurt, you already know how to deal with it, but them?
Ugh. Dystopian fiction isn't usually where my inner abused and parentified child gets validated, but this series unlocked some things in my neural pathways.
Thank you, Suzanne Collins, for Katniss. I feel so seen in so many ways through her and her story.
Sorry. I know this is supposed to be an analysis, not a love letter, but damn if Katniss doesn't play my heartstrings like a fiddle.
“Tuck your tail in, little duck,” I say, smoothing the blouse back in place.
Prim giggles and gives me a small “Quack.”
“Quack yourself,” I say with a light laugh. The kind only Prim can draw out of me.
Sorry, I am going to try to not repeat myself so much, but once again it just... Prim gets to be a child, because of Katniss. She gets to be a normal-ish 12 year old who makes silly animal noises and can't tuck her dress in. Katniss was fighting for her life and trying to find food. And of course it's not Prim's fault- I love Prim. But there's something just so painful about this contrast. Katniss had her childhood stolen from her, first by the tyrannical government she lived in, then her father's death, then her mother's mental illness, and finally the needs of a child she never should have been responsible for.
It's no wonder Katniss spends so much of the series in that emotional state abused, neglected, and traumatized children know all too well. You're simultaneously precocious and childish. Too grown-up one minute and acting like a child the next. Katniss never got to experience linear growth, and her psychology sure as hell shows it.
Painfully. Relatable.
Also, yet again: Prim. Is. Doomed. She's the most important thing in Katniss's life, the rationale for every decision Katniss makes, the reason she gets out of bed in the morning. The one person who makes Katniss's life worth living. Precious, sweet Prim, who retains her innocence and kindness in a world that aggressively stomps out both, is doomed by the narrative in every possible way.
Anyway, Gale and I agree that if we have to choose between dying of hunger and a bullet in the head, the bullet would be much quicker.
The space gets tighter, more claustrophobic as people arrive. [...] I stare at the paper slips in the girls’ ball. Twenty of them have Katniss Everdeen written on them in careful handwriting.
When you're a child, you can't comprehend something awful happening to your parents, because your life experience just hasn't shaped yet to show you that it's even possible. You don't understand that it can happen.
When you're an adult, you can't comprehend something awful happening to your child, because your life experience has shaped to show you exactly how it's possible. You know exactly how it can happen, so you can't believe that it can actually happen.
Katniss is at a stage of her life that would already be transitional in normal circumstances, where she'd start contemplating mortality- but she's already dealt with it for years.
Her own death doesn't scare her anymore. Her sister's scares her so much that she doesn't even think it's a possibility. After all, everything she's done for the last four years of her life has been for Prim. To keep her alive and give her the childhood Katniss lost suddenly and traumatically.
Prim is doomed.
Taking the kids from our districts, forcing them to kill one another while we watch — this is the Capitol’s way of reminding us how totally we are at their mercy.
We got hints of apathy and cruelty before, but now the curtain is, for the first time, being peeled back. This isn't a system built on simple oppression. It's a system built on raw sadism.
It's another sign that Panem isn't sustainable. People can endure a lot of cruelty when their loved ones are hostages, but there are limits. When those limits get pushed (hint), something will have to give.
To make it humiliating as well as torturous, the Capitol requires us to treat the Hunger Games as a festivity, a sporting event pitting every district against the others.
Bread and circuses. The poor give labor (food) and entertainment, and the rich receive them. The rich live sequestered lives full of privilege, yet ultimately just as much under the thumb as the tyrant as anyone else. But still supporting the system because they lack the empathy to want change when they benefit from the status quo more than they would from a new system, so they think. They are simultaneously disgusting and pitiful.
Like the comfortably wealthy Trump-supporting boomers we all know and loathe.
The last tribute alive receives a life of ease back home, and their district will be showered with prizes, largely consisting of food.
Our very first, incredibly subtle hint, that winning the games might be even worse than losing them. The first time reading, of course, you'll take this at face value. Later, though, you'll think of this and realize it was all only mockery and isolationism, a way of guaranteeing that the victors would be scapegoated by their District, ensuring they would never find companionship again even if their trauma didn't prevent it. And they can't complain, because, after all, they now have a life of comfort.
So many things are intersecting here; class warfare (Victors being an allegory for "temporarily embarrassed millionaires" and the American Dream) and the isolation of trauma and mental illness and more.
But suddenly I am thinking of Gale and his forty-two names in that big glass ball and how the odds are not in his favor. Not compared to a lot of the boys. And maybe he’s thinking the same thing about me because his face darkens and he turns away. “But there are still thousands of slips,” I wish I could whisper to him.
Katniss so rarely worries about herself, only those she cares for. Again; her own mortality is okay to her. It's those she protects she can't let this happen to. But since she can't even bear to face the possibility of Prim being chosen (Prim is doomed) yet, she focuses her feelings on Gale, not only worrying that he'll be picked, but worrying that he will be upset that she might be. She only spares thoughts for herself for a few brief seconds, in the next paragraph.
Katniss gets accused of being selfish so many times, but it's notable that those moments only happen once she volunteers to go into the arena, once her survival depends on a bit of selfishness. Before then, she's one of the least selfish people in the entire series, and I'd argue that even at her worst she doesn't count as truly selfish. She's a teenager trying to survive and return home to her family, not a toddler who won't share toys.
I’m feeling nauseous and so desperately hoping that it’s not me, that it’s not me, that it’s not me.
But, of course, even when you are theoretically okay with dying, being faced with the actual thing will still inspire terror. So for just a moment, Katniss lets herself lapse into worry about herself.
For just a moment, she thinks about herself- and just that fast, Prim is placed in danger.
(This is how Prim will die too, by the way; being put in danger the one time Katniss is focused on something other than her. Prim is doomed.)
Effie Trinket crosses back to the podium, smoothes the slip of paper, and reads out the name in a clear voice. And it’s not me.
It’s Primrose Everdeen.
The unthinkable has happened, and Katniss's life has been changed forever.
And even though she can save Prim this time, it's only temporary.
Prim is doomed. Nothing in the world can prevent it now. Prim would die in the arena, but by going instead, Katniss has put herself in a position where any and all actions she does will spark a revolution that gives her a Pyrrhic victory.
There is no version of events where Prim lives.
Prim is doomed.
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From the Ashes Infinity Comics #16: Pygmalion, Part 2
Let's go. I'm eager to talk about this one, because it was good.
Ahhhh, I do love it when comic books are on the nose - and I genuinely mean that. Subtext may be for cowards, as Garth Marenghi once loudly stated, but I also feel like it's just. Too subtle, for most people. You really do just end up with a load of people who don't get the message because it wasn't loud enough, who are there because the franchise is cool and not because they internalise the messages of it, and that's how you end up with racist X-Men or Star Trek fans.
By all means, get into the franchise just because it's cool! But let's engage with the themes and the narrative and the meaning, too, yeah? Trust me, it makes it better.
Anyway, the Uncanny! The adjective applied to the X-Men most commonly since their debut in 1963, the concept of the uncanny has its roots in German philosophy, and specifically the work of Friedrich Wilhelm Joseph Schelling in 1837, but Beast and his mimic here correctly identify that it was popularised by Sigmund Freud's theories about psychotherapy and the human psyche, especially his 1919 essay literally titled "The Uncanny."
That being said, my first exposure to this word and its deeper meaning was in relation to Gothic fiction, and the use of supernatural figures like the vampire, in my English Literature class, where the following definition was perhaps a bit more apt: a. : seeming to have a supernatural character or origin : eerie, mysterious. b. : being beyond what is normal or expected : suggesting superhuman or supernatural powers. an uncanny sense of direction.
As a literary trope, the examination of the uncanny, liminality, and the creation of transgressive works exploring the human fascination with the taboo and what falls outside the bounds of 'normal', that which is considered both attractive and terrifying, is a very old human past time.
The X-Men, as mutants, were always meant to have this quality, though how much a writer wishes to touch on it will always vary. Compare and contrast Hickman's use of the uncanny to make Krakoa seem alien, disturbing, and strange, versus how very mundane a lot of especially late 00s X-Men was, with Utopia's focus on very War on Terror politics, and you can see just how different a vibe you get when you have a writer genuinely interested in exploring what makes mutants actually uncanny. Morrison vs. Whedon is another very good example of this dichotomy, imo. Morrison's X-Men are uncanny, and Whedon's are not. Both are good, but they have a very different feel as a result.
Anyway, enough waffling on about literary analysis!
Taking Ben Percy and Jed MacKay's lead, this version of Beast is very much more in line with his 90s or 00s self than the Defenders version he's meant to be closer to - 1985 Beast did not talk like this. That being said, Beast's use of affectation, facade, and code-switching to fit in means that it isn't really a breaking of canon, it just indicates that Hank feels that his goofball persona would be very ill-fitting for this stage of his life, and given the stresses he's under, I can't say he's necessarily wrong.
Browerian mimicry, otherwise known as automimicry, is a form of animal mimicry in which an animal will commonly imitate itself in such a way that it confuses and deflects attacks, i.e. a fish manifesting eye spots away from its actual eyes so as to misdirect a predator. But, as Hank points out, the form of mimicry on display here is somewhat more complex and involved . . .
And now we come to the first hint about what the actual conflict is going to be here - just how much of this mimic's thought processes are its own, and how much are Hank's? After all, while Hank has, historically born up under immense pressure, stress, and racial hatred before, that hasn't always been the case.
In Uncanny X-Men #8, he was one of the first mutants to experience racial hatred and a near lynching for the use of his powers in an altruistic manner, an experience which led him to nearly leave the X-Men. While he grew out of this misanthropy, it's interesting to see this trait potentially return in light of his inner conflict over his inner goodness and morality - it makes sense that Hank would question if he's only a good person when he's treated well, given his lack of faith in his intrinsic goodness and growing belief that he cannot be trusted.
So, we have to ask if this sentiment is the mimic, Hank, or both, especially given how sharp Beast is in this issue, and in MacKay's X-Men #4. Even an older, allegedly more morally degraded Beast, was more polite to similarly ignorant masses in Rosenberg's Uncanny X-Men, and yet, in this issue, Hank refers to them very unflatteringly, to say nothing of his somewhat brusque manner during his fight with the Upstarts . . .
"We're." "We."
Interesting.
I think this issue might well have given Psylocke more dialogue than all of Jed MacKay's X-Men run thus far. That being said, I'm not massively worried about her prominence and treatment, given that what she's gotten has been eminently capable, and she does have a solo series coming out soon, so it's not as though she's being particularly hard done by, I think.
Blankslate. I actually rather like that. It has a very pleasing simplicity to it, and it's both apt and unique, which is hard, given the number of existing shapeshifters that the Marvel Universe plays host to.
I do like that the instant Psylocke saw that Scott was considering field deployment of a vulnerable young moment, she locked that shit down, ASAP. We aren't having a repeat of Utopia's X-Force here, Scoot. Again, pulling at the relative lack of play Kwannon's gotten in MacKay's X-Men thus far, it's nice to see her so assertive and able to speak up against what she perceives as Scott's utilitarian tendencies.
Also, Hank continues to be incapable of sitting on a chair properly.
I really have to question what the fuck Scott thought was going to happen. Were you even listening to what Hank and Kwannon were saying, Scooter?
Hank really isn't used to having an outer monologue. It throws him, to hear the nasty things he thinks about himself spoken aloud, finished, and not left unanswered and unquestioned in his own mind.
It's also very interesting to see this fear explicitly acknowledged in even this version of Hank, given that this worry about rejection, and the ensuing bluster and humiliation, led to his violent reaction to the garbage intervention in Uncanny X-Men #600. He decided to leave rather than be made to leave, deciding that the X-Men had already elected to make him leave the team (not an unreasonable conclusion, given how determinedly shitty they treated him up until that point, and after it), and in so doing, made his worries manifest.
I've also talked before about the significance of moments where Hank doesn't talk. As a persistent prattler, it's worth noting his silences.
A Markov chain is, essentially, a statistical model of real-world processes, that often describes a sequence of possible events in which the probability of each event depends only on the state attained in the previous event, i.e. the prediction of a specific outcome after a number of specific events. Hence, a probability chain.
Here, Hank appears to have inputted data relating to his own life experiences, and the data available to him about the life experiences of his previous self, as well as, likely, his alternate reality counterparts, in an effort to discern his likelihood of turning out the same way.
While this version of Hank has substantially reduced life experiences compared to his older self, he still appears to be well versed in statistical modelling and probability mathematics. If he is behind his Prime self, it's likely only going to be for so long, given that this level of mathematics and modelling was well beyond his 1985 self, who was notoriously rusty at even his own chosen field of biophysics and genetic manipulation in New Defenders, having neglected his scientific studies in favour of, well, fun.
Prions are misfolded proteins that induce a similar misfolded state in normal variants of the same protein, leading to cellular death. Your most likely common experience of the word may be related to prion neurodegenerative diseases affecting humans and animals, such as Creutzfeldt–Jakob's disease, kuru, and mad cow disease.
While this is very impressive science, I think it skirts around the fact that Hank is essentially working on a gun that can kill him and reset him back to a more 'pleasing' version of the same person if someone he deems worthy of entrusting the gun to decides he needs resetting. This is horrific and exactly the kind of self-hating science that Hank would only ever conscience being used on him and only him, because he's like that.
This is the kind of thing that Simon Williams or Abigail Brand would beat his ass for doing, and then destroy, because no, Hank, do NOT keep the 'mind wipe me when you don't like me' serum around, it's horrible that you think so unkindly of yourself, you idiot!
I like Hank's weird little science lamp. The man can't just have a simple lava lamp like the rest of us, can he?
Oy vey.
To be continued . . . in another post, because I ran out of images right at the end, again.
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