MovieBob said:
Sometimes, this bleeds out in the broader culture. As you may have heard, newly-annointed "biggest movie ever" Avatar has a storyline that's kind of similar to Dances With Wolves and Disney's Pocahontas. This has been so widely commented upon that the film was the official #1 punching-bag for this behavior before it even opened. Finding new stuff that Avatar "rips off" of is a full-time scavenger hunt - name any aspect of the film that reminded you even slightly of at least one other film, there's probably 20 YouTube videos breaking it down already.
Yes, fine, it's not the freshest narrative in the world - but neither were all the "original" films it supposed borrows from. There's very little new in stories - someone once broke the whole of fiction down to three categories: "Boy Meets Girl," "Boy Loses Girl" and "Boy Versus World." Psychiatrist Carl Jung thought there was really only one story, and Joseph Campbell agreed with him.
J.R.R. Tolkien certainly didn't invent "diverse group carries something from one place to another," but he did invent an entire mythology, bestiary, set of races and even the languages they spoke. Avatar's originality - and there is plenty of it - is similarly in the details: It creates an entirely fictional planet, ecosystem and species-heirarchy out of whole cloth. Two fully-realized opposing cultures. A pseudo-scientific justification of Gaia Theory. Sentient beings with what amount to biological USB cords growing out of their heads. Is it really more satisfying to ignore/dismiss all of that innovation in order to roll your eyes about "The Hot Amazon" or Quaritch being a "General Ripper"?
I find it hard to believe that there truly is a large contingent of people who read TV Tropes just so they can be faux-cynical about stuff on the Internet.
It's important to understand that when people call out a trope negatively, they're usually calling something out for being a crappy and thoughless application of that trope, rather than just having it altogether. The
Avatar bad guy is a
flat "General Ripper" -- and, jeez, given how much your typical action-hero movies totally hang on having an interesting villain to drive things along, that's a serious problem.
Likewise, not all
Avatar-
Pocahontas comparisons are created equal. There is a deep and legitimate criticism buried under some of that griping. High-level story comparisons mostly aren't about trope-hunting; they're about style and theme.
Even if they're not very well-equipped to discuss this stuff, lots of movie-goers do pick up on it. When the average twice-a-month movie-goer says "cliche", it's usually not to ***** about tropes, or structure, or even characterization -- they don't pay that much attention to that kind of detail. It's the whole thing put together, the synthesis of all the fictional and technical stuff. "Except for a few details, I've seen that whole thing before," this person is claiming. That's entirely the opposite of "missing the forest for the trees".
A friend told me that he liked
Avatar but that he was put off by how strongly the combined effect of it all
felt like Ferngully and
Pocahontas; and then, when I went to see the movie (and I liked it, too), I could tell exactly what he meant -- I felt like I was watching a "Colors of the Wind" montage again. This kind of broad-brush stylistic and thematic stuff has very little to do with tropes. When entire spirit of a work feels lifted, that's saying something much more profound than "It's got Hot Amazons and General Ripper". Despite the similarities between the stories we tell, a work still has to find its own message and identity to stand the test of time.
...
I know a lot of geeks obsess over Tolkien's mythology and bestiary and conlanging. I don't. That's not the stuff that gives
Lord of the Rings its fire. The story has this thematic heart that most of Tolkien's imitators can't achieve, because they don't understand failure and sacrifice the way he did. (Hell, since I grew up after most of Tolkien's world details had become worn-out genre tropes, most of that stuff is just a turn-off.)
The science-fictional detail in
Avatar is actually the stuff that makes me feel the most conflicted about the movie. On the one hand, I'm happy that Cameron is opening people's eyes up to some of these ideas. On the other hand, I can't watch the movie without thinking back to
The Girl Who Was Plugged In; nor can we really talk about the whole sentient-plane thing without a mention of
Solaris. Both Tiptree and Lem recognize the profound disquiet created by the kind of monumental shift in how we think about embodied consciousness and identity that "avatars" or sentient planets would represent. Cameron doesn't even seem to give it a moment's thought, which makes the movie feel like a massive waste of potential -- especially given that the story we actually got was a really simple and one-sided narrative. Jeez, even the kid-targeted
Wall-E acknowledges the "Inferred Holocaust" implicit in its setup.
Good science-fiction stories -- the ones with literary merit rather than just franchise-fandom appeal -- take the kinds of detail you're complimenting and fold it back into the main thematic ideas of the story.
Avatar didn't do nearly enough of that. The weak central plot in turn leaves all the sci-fi side-stuff languishing in a half-examined state. The audience gets a whiff of something cool but no insight into it.
-- Alex