Life is rather like the Brer Rabbit tales. For many reasons we make stories that shock or scare or sadden us, because these shocks or scares or sadnesses are more comfortable than life lived and experienced directly. Believing the sky is falling down may be terrifying, but it’s familiar, Henny Penny’s used to it, so in some way it’s a sort of comfort in its familiarity. According to my reading of Baudrillard, he and others believe there is no direct experience, ‘it’ is all mediated by stories, with ‘it’ being everything, and the means of mediation, signs and symbols and stories, are true, are all there is to our reality. Scripts in the TA sense are sorts of comfort blankets, even if the comfort they provide is that of familiar discomfort, that nonetheless is less scary than being out in life all alone. It seems as though real life and scripty simulacra are on one side of a mirror, with the images identical yet reversed. What would be real life decisions are seen as reflected through the particular dimensions of the script parameters, that somehow prevent the actor from taking responsibility for his actions, and so protect him from responsibility for the consequences. Tintin is a boy hero, like Alex Ryder, and to some extent Harry Potter, bravely suffering uncomplainingly the slings and arrows of outrageous fortune, and somehow coming out alright because of his various heroic characteristics – a sort of globetrotting hero next door. These characters and their stories can seem quite disturbed if underlying story/news values and characters are considered. Will explore stories more tomorrow…
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