Kicking the Door in From the Side: An analysis of Robin Hobb's Farseer Trilogy as a Catalyst for Sidekicks in the Fantasy Genre
Author
Vahlberg, Katrine Gaarde
Term
4. term
Education
Publication year
2022
Abstract
Heroes often stand at the center of stories—especially in fantasy, which draws on myth and epic traditions. Yet heroes rarely succeed alone; there is almost always a helper or sidekick at their side. This thesis examines how the hero and the sidekick work as archetypes (recurring patterns or role models) and how these roles have changed over time. It uses Robin Hobb’s Farseer trilogy (1995–1997) as a turning point for new interpretations of both the hero and the sidekick. I first situate the fantasy genre broadly, drawing on Brian Attebery, John Clute, and Farah Mendlesohn. I then define the hero archetype using Lord Raglan and Otto Rank and add Joseph Campbell’s Hero’s Journey as another way to understand the mythic hero. With these frameworks, I analyze FitzChivalry and Verity from the Farseer trilogy as heroes. I then extend the discussion of their roles and, using definitions by Ann Cameron and Ron Buchanan, argue that FitzChivalry can also be read as a sidekick. I show how he both fits and challenges the hero archetype and the sidekick role. In doing so, Hobb creates a new dynamic in which FitzChivalry is both sidekick and hero at once. Bringing in Kristian Frisk adds a sociological perspective on how the image of the hero has shifted since the 1950s, when the theories of Rank, Raglan, and Campbell were being popularized. My analysis finds that FitzChivalry’s dynamic sidekick-hero role reflects a broader move in fantasy toward valuing heroic actions over birthright or being “marked for greatness.” In this shift, Christopher Voegler’s idea of the self-sacrificial hero has greater influence than the traditional hero archetype, though the archetype has not disappeared. FitzChivalry thus marks a turning point between the archetypal hero and the self-sacrificial hero.
Helten står ofte i centrum for fortællinger – især i fantasy, som bygger videre på myter og eposer. Men helten klarer sjældent rejsen alene; der er næsten altid en hjælper eller sidekick ved siden af. Dette speciale undersøger, hvordan helte- og sidekick-rollerne fungerer som arketyper (altså tilbagevendende mønstre eller rollemodeller), og hvordan de har ændret sig over tid. Som omdrejningspunkt bruger jeg Robin Hobbs Farseer-trilogi (1995–1997) for at vise et vendepunkt i forståelsen af både helten og sidekick’en. Først placerer jeg fantasygenren i en bredere sammenhæng med udgangspunkt i Brian Attebery, John Clute og Farah Mendlesohn. Dernæst definerer jeg heltearketypen med afsæt i Lord Raglan og Otto Rank og supplerer med Joseph Campbells Helterejsen som en anden måde at forstå mytens helt på. Med disse rammer analyserer jeg FitzChivalry og Verity fra Farseer-trilogien som helte. Herefter diskuterer jeg deres roller yderligere og argumenterer – med Ann Cameron og Ron Buchanans definitioner – for at FitzChivalry også kan forstås som sidekick. Jeg viser, hvordan han både passer ind i og bryder med heltearketypen og sidekick-rollen. Hobb skaber dermed en ny dynamik, hvor FitzChivalry er både sidekick og helt på samme tid. Med Kristian Frisk som udgangspunkt tilføjer jeg et sociologisk blik på heltebilledet, og hvordan det har ændret sig siden 1950’erne, hvor Rank, Raglan og Campbells teorier blev udbredt. Min analyse peger på, at FitzChivalrys dynamiske sidekick-helt-spektrum afspejler et skifte i fantasy mod at tillægge heltegerninger større vægt end medfødt status eller “skæbnemærkning”. I den udvikling får Christopher Voeglers forståelse af den selvopofrende helt større gennemslagskraft end den traditionelle heltearketype – uden at denne helt forsvinder. FitzChivalry fungerer således som et vendepunkt mellem den klassiske heltearketype og den selvopofrende helt.
[This apstract has been rewritten with the help of AI based on the project's original abstract]