#I am old enough to not consider anything I do on here cringe anymore. ᕦ(ò_óˇ)ᕤ

[cafeleningrad]

Utena and Shrek, parallels in the true meaning of love

Alright, I recently rewatched "Shrek" and "Shrek 2", and I feel like unironically talking about Utena-Shrek parallels. I am joking a bit but noth this much, actually. Hopefully the Utena fandom has beheld this gem of a post. In a way, I can only half joke about it because re-watching Shrek, I noticed there is far more romantic sincerity beyond "hahaha let's make fun of Disney kitsch".

Most of all, the entire goal of each story is about the Princess being finally able to make her own choice.

Social outcast protagonist: Both Shrek and Utena don't conform to what their environment wants them to be. The lack of failing to confirm comes is something they can't help themselves with. Utena genuinely has interests in sports, doesn't feel comfortable in feminine clothing. Shrek is an ogre by birth.

Self-imprisoned protagonist: But to their authentic self comes a self-delusion they tell themselves to keep going. These lies allow them to stay within their own, limited circle, and telling themsleves that they're happy in it. Shrek tells himself that he's happy not participating with the outside world. Not because he's grumpy by default but because meeting fear, hatred, and disgust are much easier to endure if he tells himself that he doesn't need other people anyway. He practices this mindset so well, he has a hard time being honest to even himself. Utena was deeply fatalistic after her parent's death, seeing no point of living. Yet the the faded memory of Anthy made ger wanting to end the eternal suffering of another girl. Also, parentless Utena wants to be loved and admired. The only option to express her heroicness,  asl well as becoming a beloved figure without giving up her agency is taking the role of a "prince". Ohtori is as much a place as it's a state of despair. Throughout the plot, Utena seeks being taken seriously by Akio, defining her self-worth as performing as a prince, and finding a reason to live on beyond the confines of "princehood". By the difficulty of understanding herself outside of social roles, and figuring out how to love and be loved, the lie of the prince keeps her trapped at Ohtori.

Shame and fear shakel the princess: Both Anthy and Fiona are actually extremely self-sufficient. Fiona is a skilled material-arts-fighter, so good she can even do the Matrix-timeloop, is physically strong, can cook for herself, and mostly listens to her gut instinct. Anthy is capable of magic powers so strong, she can create a place rotating in a time-loop, changing her appearance, switching bodies, transforming people into animals, and generally knows how to push people's buttons to make them participate in duels, even without magic. So why are these two highly capable girls not escaping their own prison (Ohtori campus, the dragon-guarded tower)? The answer is that fear and shame keep them tied to their place of misery. Fiona is deeply ashamed of her ogre form, describing herself as "hideous and unloveable". She's not wrong to assume that most people would think of her that way. After all, we see how people treat Shrek. Farquard is only interested in Fiona's status and looks, and even Fiona's parents don't recognize her daughter at first. Anthy has nothing in the outside world waiting for her. After all, she has been hurt by the outside world before when she saved Dios. Getting spiked by swords of hatred doesn't sound like a promising change of landscape. In spite of being teenagers, most students at Ohtori avoid Anthy for "being weird" (with a strong hint of racist bullying). Even when Nanami discovers how Akio abuses his own sister, Nanami is rather afraid for herself, and is even more afraid of Anthy. With no perspective of sympathy (why would things anywhere else be different?) how things would be anywhere different for here, Anthy at least has the brother she once loved.

The futility of physical violence: Proving masculinity through violence is a strong plot element in Utena, barely appearing in Shrek. (Although, I am very guilty of being still hyped by the "I need a hero"-action sequence....) Still, it's interesting to me how the champions for the princess don't win her over by dueling/fighting other men for her hand, but talking to her directly. What does the princess want. (Ok, this point is messy but I find it quiet funny how Shrek wins over the dragon by cleverly setting up a trap, and how his Far-Far-Away-castle-conquest also is rather strategic than accomplished via brute force only. And then consider how Anthy stages most duels sometimes with absolute nonsense like distracting Miki, or weird manipulation of physics with Juri.)

Deconstructing heternormative relationship standarts: Ok, this is probably my favourite aspect of both stories when it comes to it's romantic component. Their motivation in sincerity of depicting romance may differ, however, I do think they strike a strong chord about actual romance.

Ok, with Utena, the point was to deconstruct all the trapping of hetero-normative romance - which are an extension of a gendered power hierachy. As we see with the Black Rose duelists, they're less interested in romance  rather than the symbolism their respective princes hold: Having self-confidence by being chosen by their prince, the promise of being cared for, being taken seriously by a socially higher person than them. Anthy is only desired as a rose bride for the power she holds. Anthy and Saionji demonstrate it best: The can use all the poetic phrases of love yet the interest in a prince or a princess is based solely on what they can get out of each other for themselves. Farquard and Prince Charming both want Fiona only primary for her status. Through her, both Farquard and Charming will become kings, apparently Farquard isn't uninterested in her looks either. But that's all that Fiona is to these men: A trophy, and access to social wealth. They aren't interested in her as a person. Her ogre-self is something that is supposed to be eradicated. Instead of understanding her, her greatest shame is treated as something that diminishes her value drastically.

Both Fiona and Anthy are deeply cagey about their shame - for good reason. But through slowly getting to know them, Shrek and Utena form a connection with them without being interested in anything but them. Of course, both parties feel understood and safe around the other. But they can also simply be themselves, goofing around, doing fun activities, exchange deeper thoughts and doubts. In the end, both Utena and Shrek are accepting that the princess might not love them, not even expect to have their love reciprocated. It pains them very much their relationship might not happen but what's more important is the autonomous choice of their loved one.

Love is stored in autonomy and honesty: Ok, ok, ok, ok, ok. I said in the beginning how the endgame of both stories are the final decision of the princess. Their choices are deciding on what makes them actually happy. Their simple choice changes everything! So much build up to the princess’ choice. The happiness of the princess probably shakes the status quo in it's foundation.

Anthy decides to no longer participate in the role of the Rosebride, and leave Ohtori all together. Her magic, her tricks to entice others in participation, is taken from Akio. Most importantly she decides that she has endured enough, all the lost love spent on Akio isn't as meaningful as the chance to somewhere, someday meet the person who loves her in spite of everything she's ashamed about herself, who loves her even though they hurt each other. Most of all, Ohtori makes it really hard to be vulnerable as well as express genuine love. For one, expressions of love between boys and girls get twisted fairly early in the pressure to adhere to roles of dominance and submission. (Ahem, all messed up siblings relationships. Even Tsuwabuki who still speaks with the honesty of a child is lead on to stage danger-and-rescue to conenct with Nanami.) Even same-sex love is overwritten by having to push it through a heteronormative mold. (Saionji and Touga weirdly switch between domination and submission while Saionji gets mocked for his desire to simply be an equal. Shiori isn't actually a mean person but the more Juri retreats from her, the less Shiori knows how to make a connection to Juri.) For one, Ohtori students are mislead in their genuine intention. On the other hand, vulnerable emotions, opening up to another person is often used against them. It took a great deal of pain for Utena to abandon her self-image of "the prince" on which she build-up so much of her character. Enduring Akio's abuse, becoming a person outside the safety of social requirements, that was all worth it to Utena as long as it meant giving Anthy a chance to get out of her coffin.

Fiona despises her “ogreness”. She tries to hide it, even from another ogre. The world tells her that this isn't what a lovable person should be. She performs her nobility at every occasion, singing through birds,  walk poised, reciting the poetry for the fair knight recuing her, not letting through that she's actually a skilled fighter. Yet, the bird blows up in smoke (literally), she farts and burps which she considers natural, or funny. Shrek is fine with who she is, and considers her beautiful no matter if she conforms to beauty standards or not. The entire finale of Shrek is about Shrek wanting to let her know he loves her. It costs him a great deal of vulnerability, still she should know that she's loved outside the purpose of Farquard’s vanity, and the expectations others have of her. Knowing that Fiona can be loved being who she really is, she can make the choice between the life of conformity, or the life of an ogress.

And this is why I think "Shrek 2" is such a great sequel. Fiona has made her choice to be married to Shrek. Marriage shouldn't be a cage but a shared life. Her choice marrying Shrek shouldn't become a more comfortable prison of conforming, but somewhere where she doesn't need to hide away again. In the beginning Shrek still limits his world to the comfort of his swamp. He gained more friends but unlike Fiona he's still afraid of the world outside the swamp. Repeatedly he works against Fiona's desire to meet her parents, get along with her parents, and make an effort of good will. Granted, King Harrold makes it way harder for Shrek than necessary, however Shrek prefers his comfort over Fiona's wish to reconnect with her parents. Again, Shrek and Fiona are faced with what the world wants them to be. Fiona should be a fair princess with a handsome non-ogre-husband, Shrek should simply not be seen outside the swamp. For one part, the movie re-confirms Fiona's choice. The pressure isn't only on conforming to the outside world, though. The pressure also comes from Shrek defining the confines of their shared life. Fiona being an ogre, doing ogre-stuff, living in the swamp corresponds to her proper desires. These desire perfectly align with Shrek’s living style, still Fiona is her own person with desires laying outside the swamp. Through the effort of giving Fiona her human appearance, being approached by a man Harrold would approve of  (funny enough not Lilian), Shrek is ready to give Fiona once again the choice to figure out if she actually, really is happy with being an ogre. He shouldn’t take her for granted. All her life has been decided for her. The fairy godmother used Fiona as a pawn for Charming’s success, her parents send her away without Fiona knowing the reason why, and now the Fairy Godmother wants to decide over Fiona’s head that she’s supposed to be human and Charming’s bride. The final fight is to make sure, Fiona doesn’t get kissed against her will without knowing that it would keep her a human for the rest of her life. Once again Shrek fights everything and everyone to make sure Fiona knows all she needs to know before she chooses herself – even if it means her not being an ogre anymore, and Shrek stepping out of his comfort zone. All that effort is worth It because Fiona’s happiness means so much more than Shrek’s comfort. (Also, I think that’s the reason why the sequels fail so hard. The two first movie were all about the necessity to be vulnerable, and respect your partner as their own person much more over the things they give you. The goals were Fiona’s autonomy. The third and fourth movie are only about Shrek’s masculine crisis. In of itself a good potential BUT: The first two movies were rebelling against conformity, against being what society wanted you to be. And movie 3 and 4 were confirming how good it is to live the nuclear family life in the end, even though a guy can have a little crisis over it. Fiona doesn’t even have much of a say in anything. She gets pregnant and automatically happy to be a mother. In the 4th movie being a nuclear family mother is the only perspective she’s contempt with…)

The honest friend: Donkey and Wakaba. These two are the key element in the development of the protagonists. Whereas Wakaba has a much richer inner life than just being the spunky gal, she often has Utena’s back. Hence why it’s so scary that Akio deceived her to the point she drives with him in his car. But a lot of things wouldn’t work without Wakaba. Akio and Anthy both were surprised Utena emerged as duelist. Utena only dueled Saionji to defend Wakaba after Sainoji mocked her. Without Wakaba, Utena would’ve had a much harder way out of her identity crisis after dueling Touga if Wakaba hadn’t fought so hard for confirming Utena’s true self. Everyone at Ohtori tells Utna how childish it is to still talk about “the Prince”, how she should not wear boys uniforms, wants to put her in skirts and dresses. Wakaba genuinely adores Utena. She doesn’t want Utena to be anyone but herself. “Being normal is not normal for you!” Wakaba in essence is the force driving Utena to action. (Also her being a robust Truck with many seats is such a cool aspect in Adolescence. I love Wakaba.) Before there was any princess, there was Wakaba giving Utena a sense of identity.

Donkey is also the driving force in Shrek’s emotional development. Before there was a princess, Donkey relentlessly peels away the onion layers in Shrek’s personality. In spite of his grumpy persona, Shrek rescues donkey anyway, he makes sure donkey never gets harmed no matter how annoying he is. Once pushed by Donkey, Shrek confirms how he actually doesn’t like being feared by everyone, how much that hurts him. In the worst state of despair, Shrek knowing that Fiona will get married to Farquard, it’s Donkey breaking through Shrek’s barriers. No, actually Shrek doesn’t want to be alone, actually he needs friends, he needs to do the hard thing and talk to Fiona. Due to Donkey’s help, Shrek can be true to himself.

Also, both are deeply loyal and funny.

Parents make the worst choice possible for their children: By any means, the Photir parents are notoriously selfish, if not cruel (except for honourable mention Utena’s dead parents). Form the bits we get about them they mostly use their children for themselves. Touga’s adoptive father is definitely the worst in it all. The Kaoru parents present their children as child prodigies however Kozue’s well-being is disregarded form the get-go. And when the father leaves the family for his lover, the children are supposed to get along with the procedure, and not stir trouble. Kanae’s own mother sleeps with her daughter’s fiancé behind her back which is so many levels of messed up. In total, Ohtori parents treat their children as property for their own interests, not because they would love them.

With Queen Lilian and King Harrold it is a bit more complicated. They love their daughter but ultimately, Harrold’s self-interest won. Harrold is characterized as a man with very conformist ideas what the world should look like. (There is a subtextual implication that he’s the frog king which would explain why his complex of being different is extended towards any other social outcast.) Fiona turning into a monster each night is perhaps the most socially stirring curse possible. Rather than accepting his daughter as she is, without her needing to be afraid of what she is at night, Harrold preferred sending her far away from any human eyes.

In the beginning of the family home, there was no love.

In the beginning of the family home, there was no love.

the ideal Prince: First it was joke but the more I think about it, Charming and Touga are actually so similar. Ok, Touga is emotionally stuck and egotistical due to abuse. Charming is a man-child because he's a pampered mama's boy. However, the stage for them to get the princess, and the power she holds, was set-up for them. In Touga's case him becoming the champion has a sinister reason (Akio wants to use his sword to crush at the Rose gate). In both cases, the Princess is kept in a stage of suffering, so the prince can play-act swooping her away, gaining her hand, her kingdom, and her power. Despite their conventional good lucks, having accomplished all society wants a prince to be, they're rather sleazy. Ok, now please restrain me before I draw paralles between Akio and the Fairy Godmother!

Épée-swordfighter turns from enemy to friend: Parallels between Puss and Miki. As we see

The scary gal is actually a great friend: So, Juri and the Dragonness. In this essay I will

Note: [I have my opinions about why the take "Utena deconstructs fairy tales" is not cutting anything. I don't want to fault anyone who has claimed so because the popcultural idea of fairytales being about princes on the white horse and princesses to be rescued is a massively popular- albeit a fairly inaccurate. Engagement with actual Grimm tales, and literary fairy tales (Kunstmärchen) proves how more often the female protagonist is rather proactive*, and the prince is mostly a happy ending decorum of her journey. (From the top of my head, I can only name Snow-White and Sleeping Beauty where the girls are in actual need of rescue, while also being of noble birth.) (*Female characters in Grimm fairy tale editions are an extremely messy affair. Post 2nd-edition of their fairy tale collection, the Grimms heavily edited the folkloric texts whereas the social convention, and their own sexism seeped through.) In any case I am very inclined to argue that Utena functions way more on fairy-tale-logic than on any deconstructive narrative. And Shrek was more about engaging with boy-meets-girl-formular Disney-kitsch, and basically Jeffrey Katzenberg producing a gigantic middle finger towards Michael Eisner. So, I do think the parallels go much deeper than an inaccurate take on fairy tales.]