Abstract
Fan fiction alternate universe stories (AUs) that combine Game of Thrones characters and settings with fairy tale elements construct a dialogue between realism and wonder. Realism performs a number of functions in various genres, but becomes a particularly tricky concept to tie down in fantasy. Deployments of realism in “quality TV” series like Game of Thrones often reinforce social stigmatization of feminine genres like the romance, melodrama, and fairy tale. The happily-ever-after ending receives significant feminist criticism partly because it falls within a larger framework of utopian politics and poetics, which are frequently accused of essentialism and authoritarianism. However, because fan fiction cultures place all stories in dialogue with numerous other equally plausible versions, the fairy tale happy ending can serve unexpected purposes. By examining several case studies in fairy tale AU fan fiction based on Game of Thrones characters, situations, and settings, this paper demonstrates the genre’s ability to construct surprising critiques of real social and historical situations through strategic deployment of impossible wishes made manifest through the magic of fan creativity.
Highlights
Once Upon a Time and Game of Thrones, which both premiered in 2011, each portray themselves as, at least, partly realistic medieval-based fantasy worlds in contrast to “traditional” fairy tales [1,2]
By juxtaposing Game of Thrones and fairy tales, modern fan authors reflect on the conditions of modern and historical life, expressing otherwise unrealistic political, sexual, and cultural possibilities through the language of magic and wonder
Game of Thrones fairy tale alternate universe stories (AUs) offer a unique form of cultural and narrative experimentation made possible by combining utopian, fairy tale, and fantasy genres within the context of amateur, fan distribution networks
Summary
Once Upon a Time and Game of Thrones, which both premiered in 2011, each portray themselves as, at least, partly realistic medieval-based fantasy worlds in contrast to “traditional” fairy tales [1,2]. By examining fan-written fairy tale versions of Game of Thrones, these continuities become increasingly clear. This project unravels the consequences of Game of Thrones’ characteristically quality TV construction of realism through the normative principles of intelligibility and probability, separating that which may be culturally received as realistic from that which becomes unrealistic in contrast. By juxtaposing Game of Thrones and fairy tales, modern fan authors reflect on the conditions of modern and historical life, expressing otherwise unrealistic political, sexual, and cultural possibilities through the language of magic and wonder
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