The Orphan Story
In the art of storytelling there are structural devices that writers use to enhance the dynamics of their story.
These are the building blocks of storytelling.
It has been found that these structures are the same throughout time and history.
For a story to work it MUST have a particular dynamic or it will not appeal to the emotional curiousity of the audience.
Joseph Campbell wrote in his book:
About a structure he called "The Heros Journey" that appears in all successful mythologies.
Octozone decided to conduct research into the psychological meaning and implications of that particular archetype and story structure in popular culture.
In doing so we discovered a particular narrative structure that we have called "The Orphan Story"
There are a variety of variations on this story
In the diagram presented below we see different examples of approaches that writers use for the family structure in their narratives.
Our principle concern in this presentation is in the case of an Orphan Child (male) raised by a male non-biological-parent (carer) often without a consistent maternal presence.
We are not commenting on the ethical validity of such a structure in society. We are strictly concerned with its potential psychologically and emotionally as narrative and how it has been used.
We have found the structure has "occult intentions". Additionally, we have discovered it's presence in many of the most successful storylines in the history of entertainment.
The structure is a foundational tenant for how the storyline has a psychological effect on its audience. We have also found that the material we have accumulated illustrates
that this storyline is used predominantly in CHILDREN ENTERTAINMENTS and DAYTIME TV programming and have provided substantial evidences in the octo-ring film categories of the site.
We will explore the different psychological perspectives that we have found the stories to exploit.
We also later explore how the narrative appear in
religious scripture and it psychological effect.
- THE ORPHAN STORY
The narrative challenges the conventional nuclear family unit and exploits what psychologists call Maslow’s Hierarchy of Needs.
It is by it nature an explotitive narrative.
The psychological tension the narrative creates is born from the fact that we subconsciously recognise there is a unorthadox pattern and we are curious to see if the concern will be resolved and the obstacles overcome.
It possesses many emotional triggers for the viewer and it is emotions that run narratives. Without emotions nothing has meaning and without meaning and tension to that meaning, a story will struggle to capture its audiences attention.
We believe the narrative appears in Films and TV series that appeal to the DAYTIME TV programming.
It appeals to the subconscious desires and innate primal
survival instincts of that demographic of audience.
The majority of TV viewers at such at time would be made
up of Children and MOTHERS.
Thus is why the storylines are contrived.
A CHILDS POINT OF VIEW.
Exploring the point that these stories are often found in daytime TV programming - and broadcasted at a time when children are an available audience.
Once we understand the primal concerns of a child (safety and love), we can identify why such a narrative would stimulate such dramatic concern in a young audience.
A young audience watching a movie about a child who appears to have nothing conventional about their life will posess a more exaggerated sympathy and intrigue for that character.
This difference often projects the character of the young
boy into "Heroic status" for the viewers'
possible inner-dialogue: "Where is the boys mother?"
By convention a child often identifies another child with them being in the presense of their parents.
Particularly with their mother. This is a concern from innate genetic memory as all children come from a mothers body.
By convention and history it was women who nursed and looked after orphans. So a MAN bringing up a child alone is a rare occurence.
And create enough tension for the child to develope a deeper curiousity for the characters.
They will project themselves into the storyline. This is in fact what psychologist call virtual stress.
"What if i became an orphan and lost my parents. How would i feel?"
This allows them to reflect and this reflection triggers empathy for the orphan character on a much deeper emotional investiment,
than if the child's life reflects more of a resemblance to their own life.
AN ADULT FEMALE POINT OF VIEW
This variation of the orphan story also appeals to an
adult-female audience because the male carer will appeal to
a mother or potential mothers innate fear of their
biological children being uncared for if in the event of
"What if i died and my partner died who would be around to look after my children".
Thus if you can create a hero who looks after orphaned children and is male?
At the same time a female adult viewer will be stimulated by the knowledge that a man with no biological connection would do something as heroic and charitable as take a child into care.
The narrative and its relationship to primal instinct
Subconsciously feeling this family structure is doomed because there is no biological reproductive potential between two of the same polarity (male-male).
A non biological parent (male) bringing up a female wouldn't have the same primal instinct impact.
The subconscious primal instinct of the viewer knows that
a male and female can biologically reproduce.
This means there is a chance for the cycle of life to continue.
But anything that is doomed biologically will make us feel added empathy for the characters and hope that their story finds some kind of conventional resolve.
It seems from evidence that this tension in a story is never resolved. We invite octozone readers to question why and create a dialogue.
NO STABLE HOME ENVIRONMENT
It is often noticed the characters are nomadic and do not have a consistant home.
This triggers innate anixety in the young viewer who as a child requirers stablilty and structure.