Ah, the Chosen One—that special individual, often plucked from obscurity, destined to save the world.
It’s a trope as old as storytelling itself, but one that has seen quite the evolution in fantasy literature.
Today, we’re going to delve into this ubiquitous trope.
We will explore how it’s changed over time and examine how “The Fall of Wolfsbane” turns this concept on its head.
The Classic Chosen One
First, let’s remind ourselves of the classic Chosen One narrative.
You know the drill—a seemingly ordinary person discovers they have a great destiny, often prophesied long ago.
They’re whisked away on an adventure, develop incredible powers, and eventually save the world from a terrible evil.
Think Frodo Baggins, Harry Potter, or Rand al’Thor.
This trope has been a fantasy staple for good reason.
It provides a clear narrative structure.
It allows readers to insert themselves into the story.
After all, who hasn’t daydreamed about being secretly special?
It often results in satisfying character growth as the protagonist rises to meet their destiny.
Evolution of the Trope
However, as with any well-worn trope, the Chosen One narrative has evolved over time.
Readers and writers alike began to question and subvert the concept.
Characters who actively resist their destiny, like Eustace Scrubb in C.S. Lewis’s “The Silver Chair.”
Stories where the prophesied hero fails, requiring others to step up, such as Neville Longbottom’s role in Harry Potter.
Narratives that spread the ‘chosen’ status across several characters, like in The Dragonriders of Pern series.
Stories that examine the psychological toll and societal implications of being ‘chosen,’ as seen in Buffy the Vampire Slayer.
Characters who believe they’re the Chosen One, only to discover they’re not, like Quentin Coldwater in Lev Grossman’s “The Magicians.”
These evolving approaches have added nuance and complexity to what was once a straightforward trope.
Subverting the Chosen One in “The Fall of Wolfsbane”
Now, let’s turn our attention to how “The Fall of Wolfsbane” engages with this trope.
If you’ve read the book, and if you haven’t, mild spoiler alert, you’ll know that it takes a rather different approach to the concept of the Chosen One.
In “The Fall of Wolfsbane”, we’re presented with Ragnar Wolfsbane, who at first glance might seem to fit the Chosen One mould.
He’s the son of a chieftain, skilled in combat, and thrust into a world-changing conflict.
Classic Chosen One material, right?
But here’s where things get interesting.
Ragnar isn’t chosen by destiny or prophecy.
He’s chosen by his conquerors as a political hostage.
His ‘special status’ isn’t a mark of destiny, but a cruel twist of fate that tears him from his home and family.
Moreover, Ragnar isn’t the only focus of our story.
His sister Maja plays an equally crucial role, her journey of resistance as important as Ragnar’s journey of adaptation.
By splitting our focus between two protagonists, neither of whom is traditionally ‘chosen,’ we subvert the expectation of a single, destined hero.
Perhaps most importantly, neither Ragnar nor Maja are prophesied to save the world.
Their struggles are more personal, more immediate.
They’re fighting for survival, for identity, for their people, not because destiny demands it, but because their circumstances require it.
This approach allows us to explore themes of choice, identity, and the impact of colonial forces in a way that a traditional Chosen One narrative might not.
It asks the question: what if the ‘special’ person isn’t chosen by benevolent forces of good, but by an oppressive empire?
Why Subvert the Chosen One?
So why did I take this approach?
Why not play the Chosen One trope straight?
Realism.
Let’s face it, in real life, people aren’t chosen by destiny.
They rise to challenges because they must, not because it was foretold.
By removing the element of prophecy or destiny, we place the focus squarely on our characters’ choices and actions.
This approach allows us to explore more nuanced themes of identity, culture, and power.
Without a prophecy to fulfil, the story can take unexpected turns, keeping readers on their toes.
While it’s fun to imagine being the Chosen One, it’s perhaps more relatable to see characters struggling with circumstances beyond their control, just as we all do.
Choosing to Be More
In “The Fall of Wolfsbane”, and in much of modern fantasy, we’re moving away from characters who are special because destiny says so.
Instead, we’re exploring characters who become special through their choices, their resilience, and their growth.
This evolution of the Chosen One trope reflects a broader trend in fantasy towards more complex, nuanced storytelling.
It’s not about rejecting the trope entirely, but about engaging with it in new and interesting ways.
After all, isn’t a hero who chooses their path, despite not being chosen by destiny, all the more heroic?
What are your thoughts on the Chosen One trope?
Do you prefer the classic approach, or do you enjoy seeing it subverted?
Share your opinions in the comments below!
