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Teen Wolf: Werewolves, Social Dynamics, and Gender Issues

8/21/2013

19 Comments

 
Yesterday was H. P. Lovecraft’s birthday, and in honor of that, I thought I’d take today to discuss the “monsters” part of my tagline (“Aliens, Atlantis, Monsters, and More!”) and think a little bit about horror. In my book Knowing Fear (2008), I described the way the horror genre had historically reflected societal concerns over science and knowledge. But in the wake of the Twilight franchise, a resurrection of the Gothic mode of pseudo-horror has largely dispensed with epistemology as a concern in favor of dressing up romance in the borrowed trappings of horror. The purpose isn’t to scare or to touch the sublime, but rather to explore gender issues.

The primary difference between classic horror and its more recent offshoot is that the new pseudo-horror takes the monster for its hero, or at least its romantic lead, rendering the monster no longer a monster but a supernatural hero equivalent to a hero or god of myth. All of this is a long way around saying that Teen Wolf had its summer finale on Monday, and it made me think about the overwhelming obsession modern Gothic werewolf stories have with the perceived crisis of masculinity. But let’s start with the vampires.

True Blood had its finale on Sunday, and like Twilight and its imitators, the show has essentially disposed of the horrific aspect of vampires and has made them into gods—in the case of Bill Compton absorbing the powers of the prehistoric demigoddess Lilith, literally so. At any rate, the Gothic mode of vampire storytelling gives humans not just immortality but superpowers, and the heroes of the story (as opposed, of course, to the general issue vampires within the stories) become characters hardly different from Apollo or Zeus in Greek myth. Like the gods of old, they romance human women (for the heroic vampires are almost always male), live decadent lives of luxury and wealth, and exercise dominion over nature. 

Even the bloodlust of the vampires, their one weakness, recalls the way ancient peoples envisioned their gods as parasites subsisting on the sacrifices their subjects made. Consider Utnapishtim’s sacrifice right after the Great Flood in the Epic of Gilgamesh, when the gods, who live off their human worshipers, were starving:

The gods smelt the savour;
yea, the gods smelt the sweet savour;
the gods gathered like flies around the sacrificer.

That humans become substitute gods in such stories by taking on the guise of the vampire tells us only that we find it harder to approach the sublime through awe than through terror. The vampire-god is the mirror image of the “ancient astronaut.” The ancient astronaut revives the literal meaning of religious texts but lacks the supernatural power of the gods; the fictional vampire-god becomes a supernaturally powerful object of desire, with lust substituted for worship. It’s hard not to see a parallel between the crazed Twilight fans lusting after Edward Cullen and the women weeping for Tammuz (Ezekiel 8:14-15), the beautiful youth who died and was resurrected and became a god.

The werewolf, in modern times, has taken on similar properties of the demigod. We’re a long way from Lon Chaney’s frightened beast-man or even the American Werewolf in London. In the Gothic mode, the werewolf is less the primal beast threatening the civilized order (as was traditional) and more like the guardian wolves who served Apollo under his title Lyceus, the wolf-god, and Leto, his werewolf goddess mother; or the militarized guardian wolves of the Norse Valhalla or of the Roman war god Mars. Far from being a soul-destroying curse as in earlier stories, recent Gothic werewolves—despite their feints toward the curse of the wolf—are empowered by their supernatural status, become protectors of their communities, etc. We see this, of course, with the pseudo-werewolves of Twilight, who are explicitly protectors, and in Teen Wolf, too.

But in remaking the wolf in the image of a guardian, modern werewolf storytellers have become nearly obsessed with assigning to the werewolf issues related to traditional male power dynamics—especially the tired concept of the “alpha.” Teen Wolf is perhaps the most extreme example of this trend, with virtually every wolf character scheming or plotting to become an “alpha,” retain the status, or upgrade to the highest level (!) of alpha. Despite the show’s few feints toward female werewolves, by and large this is a masculine affair, with the male wolves posturing and competing for power and status within a pack hierarchy based, essentially, on traditional patriarchal ideas. The women on the show are pretty much irrelevant the show’s major theme, a consideration of how to be a man and how men relate to one another in a world where traditionally masculine traits—aggression, protectiveness, and tribal loyalty—are at odds with the dysfunctional systems of modern society. It’s probably not a coincidence that the only other functional institutions portrayed on the show are also overwhelmingly male and also share the same traits as a wolf pack: male sports teams and law enforcement. You could excise nearly all the women from Teen Wolf without seriously impacting the story.

One could argue, I suppose, that this is all based on real wolves, but that isn’t the case. The sheer number of male alpha werewolves as heroes of the werewolf Gothic discounts that. But so too does the fact that the “alpha” werewolf concept derives not from folklore—with its traditional lone, rogue wolf motif—or from early fiction. It is left over from old Victorian studies of unrelated wolves in confined spaces. They fought for status in a way that wolves in the wild, who live in family groups, do not usually do. This old, flawed research dominates werewolf mythology today.

I wish I knew exactly when the “alpha” concept appears in werewolf literature, but I’m not familiar enough with all of it to know for sure. The earliest reference I can find is in a 1989 Time-Life book on supernatural Transformations by Jim Hicks, in which he describes what he considered to be the traits of real wolves reflected in lycanthropy: “a strong, aggressive male serving as leader, or alpha male,” along with his mate, the alpha female, each ruling others of their respective genders. By 1995, Clyde Cadwell’s Werewolf Storytellers Handbook lays out alpha and beta wolf dynamics as a given for writing werewolf stories, though a Google Books search doesn’t turn up any alpha wolves in pre-1995 literature. That’s not to say there weren’t any, but I can’t find one. In Rebecca Flanders’ Wolf in Waiting (1995), a romance, there is an early reference to an alpha male as “responsible for defending, sheltering and providing.” That same year alpha werewolves infected the work of Laurell K. Hamilton, who apparently found alpha males worthy complements to her strong female heroine, vampire hunter Anita Blake. A few other references occur around this time, but it is really after 2000, in the wake of the Anita Blake novels and the Sookie Stackhouse novels of Charlaine Harris (the basis for True Blood) that we see the overwhelming number of alpha wolves, wolf packs, and the intense focus on the social dynamics of (mostly male) wolves as they romance (mostly human) women. If I had to guess, I would say that Hamilton was responsible for popularizing the concept, which now spreads across thousands of novels and many, many movies and TV shows.

I suppose it’s a backhanded compliment to women that today they are now presumed to be possessed of such autonomy and power that Gothic writers must promote men to demigods in order to reproduce the traditional Gothic story of the powerful man who saves the fragile damsel through his love. It’s better, I guess, than tying the women up and spanking them as in the Twilight derivative Fifty Shades of Grey.

19 Comments
Clint Knapp
8/21/2013 09:13:09 am

A welcome break from the usual slog through Crazytown, Jason. Horror and I have been the best of friends since picking up Stephen King's "It" at twelve years old and discovering Lovecraft a few years later. Like all good friends one must watch wither and die, though, I've wept for the loss of identity our monstrous pals have gone through in recent times.

I found True Blood an interesting proposition in the beginning- having no idea what I was in store for or any knowledge of the book series- but what started out as a curious What If? scenario regarding sociological issues and thinly-veiled sexual identity themes quickly devolved into slapstick, excuses to show as much sex on camera as HBO would let them, and... well, glowy fairy stuff. I still managed to keep up with the show, though I'm a few episodes behind, by virtue of the DVR and severely altering my expectations (and hey, I'm paying for HBO anyway).

Shortcomings aside, I'll take the super-god approach to what are still fundamentally bloodthirsty monsters in True Blood (if a little tempered by human emotion) over that sparkly bit of nonsense the Twilight series has foisted upon an entire generation who never grew up under the shadow of Bela Lugosi and Christopher Lee.

As to our old friend the werewolf... I really have no idea what happened there. Somehow the cursed and tormented protagonist- forced to do unspeakable, uncontrollable acts of violence- became a pack of shirtless buffoons with severe mental deficiencies. I'm at a loss here. The motivation seems to be entirely sexual, with strong currents of bestiality leading the charge right behind your analysis of the alpha-male ideal. Sex sells, and forbidden sex sells even more.

In his wonderful nonfiction book, Danse Macabre, Stephen King points to the vampire and werewolf as two of the three primary horror character archetypes. The third is the Thing Without a Name, a gray-area sort of creature created with less certain rules and weaknesses most clearly represented by Frankenstein's monster. How long until we have to put up with a resurrected jumble of body parts strutting around seducing our pretty human girls with their conveniently hand-picked features?

Reply
Shawn Flynn
8/21/2013 09:22:48 am

I think there is a Frankenstein remake or two being produced actually, so it might not be a long wait.

Reply
Jason Colavito link
8/21/2013 09:40:03 am

I take it you haven't seen "Warm Bodies," the recent zombie romance movie. In a post-apocalyptic world the daughter of a political leader of the humans (i.e. a princess) wanders outside the fortified city (i.e. a castle) where she encounters evil zombies and is rescued by the good and handsome boy zombie who becomes human through her fairy princess super love.

Reply
Bill
8/21/2013 11:12:12 am

I'm waiting for the musical adaptation of "The Thing".

Aaron Adair link
8/21/2013 04:36:57 pm

I..I.. I...I don't under... ah... I don't want to live on this planet anymore.

Clint Knapp
8/22/2013 12:31:05 am

I haven't, thankfully. I saw a trailer or two and decided it was in my best interest not to. It did cross my mind in writing the comment, though, since the zombiesploitation of recent years is about as close as we've come to a Frankenstein archetype.

Back to the drawing board. At least no one's falling in love with Cthulhu... oh... right. Japan...

Varika
8/21/2013 10:02:14 am

This whole post just makes me think that more people need to read "Julie of the Wolves" and its sequels, "Julie" and "Julie's Wolf Pack."

Reply
Gunn
8/21/2013 01:50:26 pm

Frankenstein's Monster (Boris) had a big impact on the way I slept as a child...with my arms tucked in at the sides, lest an arm would fall down during sleep and be grabbed. Years later, one dark late afternoon found me driving a truck in then-West Germany, taking a shortcut, and I came upon a little village called Frankenstein. Creepy. I don't like horror, preferring comedy. I've heard that fear is of the devil.

Reply
yakko
1/26/2014 11:06:06 am

There is a small town in central Missouri called Frankenstein, in an area (near Jefferson City, the state capitol) that was settled mostly by German Catholics in the 19th century. The general store has a painting of a cartoonish Frankenstein's monster holding two bags of groceries, so they have no problem with the name.

Reply
Tara Jordan link
8/21/2013 05:11:26 pm

Teen Wolf: Werewolves, Social Dynamics, and Gender Issues.
There is an excellent movie which is most likely unknown from the American audience: Neil Jordan`s"The Company of Wolves"

Reply
Only Me
8/22/2013 06:20:27 am

Absolutely superb movie. I saw it as a kid in the theatre, and although some of the stories confused me, it did, nevertheless, mix in just enough horror to thrill the senses. It was only years later, as an adult, that I truly appreciated how much of a classic this film was. Highbrow, humorous and completely one-of-a-kind.

If only we could recapture the sublime tones of the old Universal and Hammer classic horror. Unfortunately, the last great horror films I enjoyed were in the 70s/80s, and were considered sci-fi/horror...Alien, The Thing, Saturn 3, Damnation Alley, etc.

Reply
Tara Jordan link
8/22/2013 06:50:59 am

Glad you like it.I re-watched it recently. The Werewolves transformation scenes are pretty lame by today`s standards,but the movie still projects an eerie sensation.

If you enjoy Hammer Film Productions,I highly recommend:The Plague of the Zombies (1966) Directed by John Gilling.
Another little gem of the horror genre is Clive Barker`s Night Breed (1990).

Jan Pospisil link
8/21/2013 08:12:24 pm

One of the better werewolf books out there (I thought) was "Blood Trail" by Tanya Huff. She wrote a series about Vicki Nelson, a private detective having Henry Fitzroy, a vampire, for a partner. It was adapted into a slightly above mediocre TV show (Canadian I think).

This particular book's plot revolves around a family of werewolves and I thought the wolf-pack/family dynamic was portrayed rather well.

It's not as artificially edgy and poserish as the Anita Blake books often are, overall it's a pleasant read with supernatural stuff in it.

Reply
BigMike
8/21/2013 09:58:39 pm

I was just recently turned on to this blog by my sister and I must say, great stuff all around. I particularly enjoyed this particular article and had a few comments.

While I agree that Stephenie Meyer has actually had a huge impact on modern vampire stories (not a positive impact in my opinion, but to each their own when it comes to fiction) I will say that she seems to represent to most extreme line of adaptation that began with everyone's favorite vampire, Dracula. Bram Stoker was actually predominantly responsible for the the most drastic change in vampire mythos. Prior to Stoker the folklore of vampires was universally negative in everything about them: they used their claws to dig their way out of their graves at night and shambled on knobby bowed legs to nearby houses and gorged on blood with their viciously sharp teeth until near dawn when they returned to the grave and dug their way back down. Not pleasant stuff by any stretch. Stoker took that monster and turned it into a seducer. In a very real sense Dracula was the Fifty Shades of its day. Fangs puncturing flesh was used as a euphemism for sexual penetration.

I personally see some value to some of the more modern stories like True Blood and the Vampire Diaries. I agree that many of the vampire characters in those stories represent god-like beings, but they also serve the purpose of pointing out the virtues of being human by acting as caricatures of the more virtuous mortal characters.

As for werewolves, well, there are many reasons for the sudden inclusion of the "alpha" paradigm into the werewolf mythos, but I believe that one of the most important is the sudden inclusion of the "pack" to the mythos. Most stories of werewolves, from the pseudo-historical accounts of the Beast of Gevaudan through the Wolfman movies of Lon Chaney Jr. and the like, the werewolf has been portrayed as a lone monster. There is no need to go into any sort of social hierarchy when dealing with a single entity.

I cannot help but think that the 1992 publication of Werewolf: the Apocalypse by White Wolf Games contributed to this in a significant way. Being a tabletop role playing game, Werewolf: the Apocalypse had to include some set of rules for including multiple players in a social setting within the game. I see a correlation (and I know that correlation does not mean causation) between the growth of the player base of this game and the upswing in pack based werewolf literature. Just food for thought there.

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Thane
8/23/2013 09:45:16 am

Personally, I like my monsters old school.

Vampires are filthy blood-suckers and do not sparkle....nor are they angsty teens.

Werewolves are men who are cursed and turn into beasts.

Both, if I recall my myths and folklore properly were loners...and no, Vampires didn't enslave or oppress Weres.

At most Dracula (Bram Stroker's Dracula) has some bloodsucking groupies and an insect eating roadie....er, I mean servant.

In Popular culture, horror turned to high-camp in the 1960's and the alledged "sex appeal" of the "dominating" bloodsucker was played up. Lot's of BSDM motiffs in those B-movies. American International Pictures being a major influencer on how horror evolved and de-fanged, as it were.

I have to admit I love bad horror movies from the 60's.

It was the late 70's that we had Frank Langello play the sexy Dracula in a very seductive interpretation. and there have been others after...Gary Oldman comes to mind. Of course, to me, nothing beats Love at First Bite.

But I digress....

I do agree that White Wolf Games, in an attempt to create a playable horror scenario where the players could play the monsters (as anti-heroes) as opposed to other games where the players were more or less relegated to monster-hunter roles, either created or popularized the "social" aspect of Vamps and Werewolves. I don't recall seeing or reading about social Vamps and Werewolves prior to the White Wolf Games.

Since those games are primarily played by the 13 to 25 year old demographic, entertainment outlets (books, movies, TV shows) catered to that evolving understanding of the monsters.

The popularity of those games speaks to the alienation that angsty teens feel. They aren't kids anymore and aren't adults. they are awkward with raging hormones (lots of angst and rage boiling through their veins) and so, they identified with the monster...and so the monster evolved to be simply misunderstood and worthy of love....and heroic....and powerful.. and all those things the angsty teen wants to believe about him/herself.

That and the kids don't read the old classics (which they would have plenty of time to do if they weren't on my lawn! Darn kids these days!) so they don't know any better.

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Shane Sullivan
8/27/2013 08:01:26 am

I suppose it's worth noting that White Wolf's more recent invention, Exalted, takes the werewolf's newly acquired "demigod" status a step further, with the Lunars actually being granted superpowers by the moon goddess.

Infact, the word "demigod" has been thrown around more than a few times by the game developers.

yakko
1/26/2014 11:31:21 am

My understanding is that traditionally, werewolves were shape-shifting sorcerers who deliberately changed into wolves to ... well, whatever is is that a wolf does better than a man. The idea of the werewolf as the innocent victim of a curse, or of lycanthropy as a kind of rabies transmitted by bites, started with the old studio horror movies (the same as the vampire as a romantic figure rather than, as has been pointed out, closer to what we now would call a zombie). In some folklore, a man who was a werewolf in life became a vampire in death - or so I've heard, I'm not sure where that idea comes from. Hey, doesn't that qualify me to be an expert on vampires, werewolves, and zombies for the History Channel?

To be sure, "traditional folklore" on these matters varies greatly by time, place, and culture, and the stories we tell about them is no less "folklore", even if we can trace their origins pretty certainly if we want to.

Jason Colavito link
1/26/2014 11:52:39 am

It depends on where you start the werewolf theme. In Greek myth, lycanthropy was Lycaon's punishment for murder, and Greek ritual featured lycanthropy as a rite of passage to manhood, something scholars believe derives from Proto-Indo-European culture. The Satyricon also contains an early werewolf story of spontaneous change. The modern werewolf, however, is associated with witchcraft and the witch hunts of early modern Europe. Many scholars think it evolved from a Christian diabolizing of old pagan shamanic wolf rituals.

Dale Triplett link
8/25/2013 06:25:38 am

"Everyone carries around his own Monsters." - Richard Pryor.

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