Woke Fiction Always Sucks

Woke Fiction Always Sucks

Beloved Readers: And water is always wet, oh insightful one. What’s your point?

Today, I’m taking a dive into why it sucks.

What makes it so reliably bad? How come even the best Woke fiction never rises above mediocre? What exactly is wrong with it and is it possible to fix Woke fiction?

First, we need a functional definition: Woke fiction is a story whose primary purpose is not to entertain but indoctrinate an audience into current Feminist ideology by utilizing feminist critique.

Elements of Woke fiction have been around since the 1960s.  It was in that period where Gamma resentment of traditional masculinity first made itself felt in counter-culture movies. There were individual examples before then, but a rejection of masculinity was not yet a cultural norm.   Before the 1970s, a non-masculine hero was usually a “Fool Triumphant.” A physically weak man who defeats a bully with the power of his wit.  These were restricted to comedies.

But like I said, “elements of Wokeness.”  The whole thing hadn’t been wrapped up in a revolting little package yet.

Xena, started off reasonably normal.  Hercules the Legendary Journeys had been a worldwide hit.  So, the producers tried the same formula with a spinoff series starring a warrior woman and her boon companion.  Gabrielle was at first, simply a ridiculous fangirl of Xena.  It was understandable, Hercules had been a household name for 5,000 years, whereas Xena was the new kid on the block.  Somebody needed to say how great she was.  The internet was just becoming a thing and forums dedicated to the show speculated about just how obsessed Gabrielle was with her bestie.  The showrunners noticed and started throwing in a few easter-egg-jokes.  “Is that a hickey on your neck, Xena?” Gabrielle looks away in embarrassment.  However, when the ratings started to slide, the showrunners went above board with it.  And Lefties loved it! 

Other producers noticed and followed suit. 

Buffy the Vampire Slayer started off as a story about a girl with some specialized superpowers directed at the undead and her Scooby gang. By the end of its run, it was about a number of girls with these powers plus a lesbian witch.

This allowed the producers to pretend that they were being “brave,” when in truth it was just softshell lesbian porn.  And to be fair, these things didn’t come out of the gate Woke, they just sort of got there when these series were at the end of their runs.

The first time I noticed something that arrived with the wheels already off was Agent Carter.  The show started off with a ton of goodwill.  Captain America had been great and there was real fan engagement with his love-interest Peggy Carter.  People were intrigued with Cap’s 1940s world but he was removed from it by the end of the movie.  Agent Carter would let that audience explore that world a bit more.  Awesome!

Except. 

That wasn’t what the show was about at all.  

The Peggy Carter in the film was a reasonably good character.  The Peggy Carter in the TV show was an utterly absurd Mary-Sue.  

Post-WWII America is problematic for any adventure series.  The Axis has been crushed and America bestrides the world like a colossus. A great cigar only costs a dime, your Daddy is rich and your Mama is good looking. Everything is too good it’s boring.  Sure, there were baddies in the world but nobody in Hollywood could admit they were bad, and Communist governments wouldn’t be out of the picture for another fifty years.

The only bad guys, Agent Carter really concerned herself with were the Men in the Office.  Apparently, women weren’t valued or respected in any way, shape or form in the late 1940s.  Despite the fact that just two years before there had been US government-backed propaganda programs praising “Rosie the Riveter.”

Despite being the best at everything without trying, poor Peggy was relegated to “making coffee for the men.” And she really was the best at everything without trying. One of the sillier aspects of the show was how Carter could beat up three-hundred-pound pro-wrestlers in seconds with no explanation provided as to how she can do this.  

Before Agent Carter, women who did that either had a superpower or something that functioned as one. Emma Peel could do that in 1965 because Karate was viewed as a legitimate superpower.  Buffy could that because she was a Chosen Slayer.  But there was no explanation provided at all as to how Carter could be such an ass-kicker.  And none would be provided because “how did she get so physically powerful?” Was a question you were NOT allowed to ask by 2015. A woman who didn’t mass more than a fourteen-year-old boy could beat up men twice her size. This is a reality that you are not permitted to question.

Agent Carter also did a lot of picking and choosing as to what aspects of the 1940s would and would NOT be shown.  Women not making it in a man’s world was a thing to be shown.  However, in the second season, Captain America’s Sad Girlfriend decided to get on with her life by taking up with a black scientist.  Peggy Carter had a black boyfriend in 1947.   This was presented as something that was completely believable.  Rather than something that was illegal in California at the time, (which it was).

The most ludicrous part of Agent Carter was that it actually got a second season, despite the fact that its ratings were in the toilet.  No one wanted to watch this show except Disney executives. 

Woke fiction is so pervasive at this point it’s developed its own identifiable cliches. 

Protagonist is almost always a white female, (or so close to white it doesn’t matter). 

-She can do anything without trying

-She can beatup Brock Lesner without working up a sweat

-Her biggest problem is usually emotional.  This is the closest she gets to having character arc.

-If the Wokeness has barnacled itself to an established IP then the canon is rewritten to make her even more exceptional.

-She is greatly admired by everyone except her boss and the guys at the office who make her “get the coffee.” However, she can invariably defeat them with the feminist version of feminine wiles (IE she says she has to go out because she has “Lady Trouble.” The men will then recoil in revulsion like seven-year-old boys who have only just had this explained to them for the first time.

-She is theoretically attractive.  Which is to say the actress is pretty enough, but her character is not permitted to “attract the male gaze.”

-She is vastly morally superior to everyone around her and angrily lectures them about their short comings.

-Any demonstration of good character is accomplished by how deeply she feels about the plight of marginalized people.

-If the character is around long enough, she will eventually become a lesbian (Agent Carter was flirting with this).  There are two reasons for this last one. Subconscious acknowledgment by the writers that she will never be able to find happiness with any man. And SJW pressure from “shippers.” If the Woke protagonist has any female friend at all, the shippers will demand that she sleep with her.  Since the writers are usually male feminists, they will happily give in to the demand.

That is the Woke Protagonist. And as you can see, she is really bad.

Rey, Korra, Batwoman and Captain Marvel all conform to these tropes to varying degrees.

However, what really makes Woke fiction suck is the antagonist.  The villain is the “all and the everything” in fiction.  Luke Skywalker has Darth Vader. Harry Dresden has Nicodemus Archleone. John McClane has Hans Gruber. Neo has Agent Smith.  

In a good story, there is a severe imbalance of power when the protagonist meets the antagonist.  The Villain is so overwhelming that the matchup appears to be… Well, not so much unfair, as it is utterly hopeless.  The Hero doesn’t win that first fight, he escapes from it. Barely surviving the encounter.  The next time they meet the power balance has shifted due to the training and adventures the Hero has had in the meantime and it’s a much more even match.  The third time the Hero, after having been down his road of trials, now has what takes to defeat his antagonist. 

But in Woke fiction the antagonist is NEVER any kind of threat to the protagonist at all.  The Antagonist is almost always male.  And is never any kind of threat to her. Childish and petulant. She defeats him with ludicrous ease every time they meet.  He dismissively underestimates her, even after she has repeatedly defeated him.

Worst of all, the Woke antagonist presents no challenge of any kind for the Woke protagonist.  The challenge of defeating this unstoppable enemy, this near force of nature when the hero first him is the heart of Western fiction.  If the conflict with the antagonist is trivial then so is the rest of the story.

In Captain Marvel, the villain’s only function was to make her use her FULL POWER.  She had been restraining herself because of male-generated circumstances up until the climax.  Then the audience got to watch a pretty and boring light show.

No challenge for the protagonist means, no emotional gratification for the audience.  The audience doesn’t care for the simple reason that they can’t.  They haven’t watched a story; they’ve just seen a series of events.  There was never any rising tension.  There was never any character arc because nothing happened to the protagonist that could change that person.

So far as the Woke writer is concerned this is just fine.  

After all, why would you want to improve upon perfection?

In summary: No, Woke fiction can’t be fixed. 

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Comments (11)

  • John E. Boyle Reply

    Thanks for reminding me to do a rewatch of A Funny Thing Happened on the Way to the Forum.

    Those filthy pirates.

    February 25, 2021 at 1:11 am
  • furor kek tonicus Reply

    Apparently, women weren’t valued or respected in any way, shape or form in the late 1940s. Despite the fact that just two years before there had been US government-backed propaganda programs praising “Rosie the Riveter.”
    .
    also, movies from the 30s to the 60s were chock full of spunky women who gave as good as they got ( “You know how to whistle don’t you, Steve?” ). tell Bette Davis or Katherine Hepburn that they were agents of Patriarchal Oppression, why don’t you?

    February 25, 2021 at 4:11 am
    • Codex Reply

      “Nature, Mr. Alnutt, is what we were put on Earth to rise above” ~ The African Queen

      Her biggest problem is usually emotional. This is the closest she gets to having character arc.

      And said emotional problem is usually failure to realize how strong and fierce and beautiful she really is-! Blech.

      Which leads to female characters who do such repellent, entitled, vicious things that Miss Becky Sharp would yield her place as a villainess, and no-one bats an eye: Captain Marvel’s over-the-top thuggery, or Wonder Woman’s rape of an innocent man.

      Wokerati have replaced a normal human conscience with this week’s programming:https://youtu.be/Lgcd6jvsCFs

      Writers without chests tell stories with no heart.

      March 2, 2021 at 7:20 am
  • Bonesaw Reply

    The failure of woke cinema to create enjoyable antagonists is such a telltale sign now.
    For example, who was the antagonist in the woke Star Wars trilogy (other than Kathleen Kennedy)?

    February 25, 2021 at 5:36 am
  • furor kek tonicus Reply

    Bonesaw Reply
    who was the antagonist in the woke Star Wars trilogy

    .
    that’s easy.
    .
    VII – Snoke and Kylo, Kylo gets thrashed in first encounter, thus not a threat to Rey. Rey isn’t even aware of Snoke’s existence, thus Snoke could conceivably still be dangerous.
    VIII – Snoke and Kylo, Kylo kills Snoke trivially, thus Snoke was even less of a threat to Rey than Kylo was ( MMA math )
    IX – Palpatine … kills himself? and wins anyway, as his progeny has subsumed and subverted the Skywalker name. Kylo totally emasculated as his killing of Snoke did not even raise him to the power level of his master ( it is traditional that a Sith Master be assassinated by his Apprentice ).
    .
    don’t complain about the irrationality of the plot and the complete lack of groundwork for the return of Palps in IX, that’s a FEATURE of Woke fiction.
    .
    from a meta perspective, you would have to say that
    1 – just as the Force raised up Anakin in Ep1 to “restore balance”
    2 – the Force also raises up Sith Masters to balance the Jedi
    .
    which makes the Force the actual antagonist and everyone else on both the Dark and Light sides it’s pawns.
    .
    but that stupidity was a creation of Lucas … who was Woke for his era. try reading / watching THX-1138.

    February 25, 2021 at 7:02 pm
  • Patrick McNally Reply

    A rule of thumb seems to be that:

    1) The best art is produced by talented people who have some kind of message that they want to give. The actual message that emerges is sometimes very different from what was consciously planned. But great artists often do have some desire to communicate a message.

    2) The 2nd best art is produced by talented people who have no message to spread.

    3) The least bad art comes from untalented people with no message to spread.

    4) The very worst comes from untalented people who desperately want to spread a message.

    When one has officially censored art such as in the old USSR this tends to drive out the talented people and leave behind political propaganda made by the untalented. After a certain point it could even become obvious to Soviet officials that hyping the propaganda was just boring everyone to death. But some of the early Soviet artists were good. It was just that the system slowly wedged the better work.

    With art in the West over the last 75 years or so one can see a trend where some of the early attempts at political messaging were actually very well done. But the point of Stalinoidization was passed a long time ago. Any traces of talent were driven into exile already.

    But this is why some classics like Steve Englehart’s run on Captain America back in the 1970d with the Nomad are so different from the stuff ground out today. The Nomad storyline was inspired by Watergate and was obviously political for its time. But the sense of twists in that older classic work is very different what comes through in the tropes of today.

    February 25, 2021 at 9:01 pm
  • douglas Whiddon Reply

    I really wanted to like Peggy Carter. But, I remember one scene where the boys in the office are trying to solve a cypher and can’t. Peggy steps in and lectures the boys about using a “pad”, then she solves the cypher. Given that I’ve read Cryptonimicon, I know that a pad is a set of random numbers inserted into a cypher. You have to know what the pad is (and it is never used twice) to be able to solve the cypher. So, the entire scene was garbage and no one involved had any clue what they were saying. I gave up on it after that.

    February 26, 2021 at 1:43 am
  • Rob Reply

    Hailey Atwell was easy on the eyes, but I couldn’t deal with more than a few episodes of Agent Carter.

    I just watched Ya Boi Zack’s take on DC’s new Nubia book, and it’s exactly as you describe. Plus the art is so bad it looks like I drew it myself.

    February 26, 2021 at 6:54 am
  • Chief_Tuscaloosa Reply

    One minor addition for the Dark Herald’s consideration: not sure if one could say it’s on the Woke author’s pre-writing the plot checklist, as it probably never occurs to them to include it in the first place, but if any Christian references were to make it on the page, they must be removed before production starts.

    February 26, 2021 at 1:56 pm
  • Falter Brawley Reply

    Setting Captain Marvel in a stark light, you have:

    Captain America, who starts as a scrawny midget trying and failing to join the Army, then getting super soldiered and still trying and failing to join the Army instead of being a side show attraction, barely escaping Red Skull’s exploding fortress, losing his best friend and eventually beating Red Skull at the expense of his own life.

    Iron Man, starting out a narcissist, getting injured and captured, escaping his captors but losing a friend in the process, struggling to build a functional suit and then getting his ass kicked by the villain in the final fight, only winning because he had help.

    Thor, brash and arrogant, stripped of his power and struggles against his own failings, rather than any actual villain until the last 20 minutes of the movie.

    You can’t do any of those things with women protagonists any more, because women aren’t allowed to have weaknesses, they can’t have negative personality traits and at no point can they be allowed to struggle against anything other than a society that hates them for no discernible reason, or it’s sextisms.

    And SJW pressure from “shippers.”
    The worst thing that every happened to episodic entertainment. The need for every character’s story to revolve around who they’re boning is maddening. And it’s not just putting every woman in a lesbian relationship, but the denial of any man having comradery with another man without squealing teenagers reading sexual undertones into it.

    February 26, 2021 at 10:54 pm
  • Old Mouse Reply

    “Woke fiction is a story whose primary purpose is not to entertain but indoctrinate an audience into current Feminist ideology by utilizing feminist critique.”
    A good summation, but why leave out LGBT or Critical Race indoctrination? I suppose all three come in an unholy trinity, but at least in the last couple of years an obvious push has come for “Battle of the Sexes” to be booted off its traditional spot as the primary theatre of the Culture War.

    “ (or so close to white it doesn’t matter)”
    This is the biggest source of comedy from modern woke media. Black purse-puppy writers want so desperately to make a narrative about their “struggle with racism” but it is painfully obvious that for most the closest to discrimination they ever experienced was been called a mild slur on the Internet or getting stink-eyed by a surly preteen boy that happened to be white. Their upbringing and education has made them psychologically and culturally indistinguishable from the most SWPL-est Portland bugman or Scandinavian-bred Minnesotan prog imaginable, and you can tell that they are perpetually a second away from flaying themselves alive out of sheer imposter syndrome.

    February 28, 2021 at 8:43 am

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