This seems a strange comment to me. After the SPHEW arc I think I have a much better understanding of the thoughts and ambitions of e.g. Padma (doesn’t want to fall back into harmony with her sister and is now seeking a non-evil way to do this), Susan (voice of caution through the influence of her Aunt, non-arrogant enough to seek out Tonks help) or Tracey (Darke Lady who’ll have everyone as her husband), than e.g. the characters of Dean Thomas or Seamus Finnigan or even Blaise Zabini. Possibly even Neville Longbottom.
The boys get the HPMOR equivalent of “I want to be a selfless doctor” or “I want to be an important politician.”
The girls get the equivalent of “I don’t want to be like my relatives” or “I want to be adored by lots of men”.
The girls’ aims seem defined by types of relationships, which makes them more fragile and harder to visualize than aiming for a type of occupation.
This doesn’t mean that Padma wouldn’t be cool in reality. (Real-life outcomes seem determined as much by search method as by deliberately planned destinations.) But in a story, it gives her less narrative impact.
The boys get the HPMOR equivalent of “I want to be a selfless doctor” or “I want to be an important politician.”
I don’t see it. Can you speak specifics? What does Blaise Zabini, or Neville Longbottom or Lesath Lestrange or Seamus Finnigan or Dean Thomas get in regards to the above?
On my part, I see Blaise want to amuse himself via lots and lots of counterproductive-to-his-own-good plots, Neville wanting to avenge his parents, Lesath wanting to be Harry’s minion, and I don’t remember Dean and Seamus ambitions at all...
We don’t need to know the details of what a character is trying to do to see that they’re acting in a goal-directed kind of way, or to infer some general things about the types of goals they’re going after. It’s kind of like—imagine watching a documentary about rubber balls, and there’s a two-minute clip in it about how they’re shipped that shows a truck and gives a vague handwavey map of the transportation network. At the end of the documentary, you’ll know much more about rubber balls than trucks, but that doesn’t make rubber balls more complex or more interesting than trucks are—and you have enough information to know that, even if you can’t say much more about trucks than that they exist and can carry things over long distances.
What I was actually trying to get at is a bit more subtle than even that, though—even the boys who aren’t actively trying to become specific plausible types of narratively-coherent adults are pulled into that by the assumptions of the people surrounding them, whereas the girls don’t just care less individually (of the ones you named, only Padma has anything remotely like a realistic goal for adult-herself, as opposed to a simple set of character traits or a silly fantasy that obviously won’t happen), the people around them don’t take an interest in the issue, either.
Yes, that’s it: the girls don’t aim for distinctive future selves, the boys do.
Blaise and Neville are each trying to become something, and it’s something different in each case. The girls? Not nearly so much.
This seems a strange comment to me. After the SPHEW arc I think I have a much better understanding of the thoughts and ambitions of e.g. Padma (doesn’t want to fall back into harmony with her sister and is now seeking a non-evil way to do this), Susan (voice of caution through the influence of her Aunt, non-arrogant enough to seek out Tonks help) or Tracey (Darke Lady who’ll have everyone as her husband), than e.g. the characters of Dean Thomas or Seamus Finnigan or even Blaise Zabini. Possibly even Neville Longbottom.
The boys get the HPMOR equivalent of “I want to be a selfless doctor” or “I want to be an important politician.”
The girls get the equivalent of “I don’t want to be like my relatives” or “I want to be adored by lots of men”.
The girls’ aims seem defined by types of relationships, which makes them more fragile and harder to visualize than aiming for a type of occupation.
This doesn’t mean that Padma wouldn’t be cool in reality. (Real-life outcomes seem determined as much by search method as by deliberately planned destinations.) But in a story, it gives her less narrative impact.
I don’t see it. Can you speak specifics? What does Blaise Zabini, or Neville Longbottom or Lesath Lestrange or Seamus Finnigan or Dean Thomas get in regards to the above?
On my part, I see Blaise want to amuse himself via lots and lots of counterproductive-to-his-own-good plots, Neville wanting to avenge his parents, Lesath wanting to be Harry’s minion, and I don’t remember Dean and Seamus ambitions at all...
This isn’t what I was talking about.
We don’t need to know the details of what a character is trying to do to see that they’re acting in a goal-directed kind of way, or to infer some general things about the types of goals they’re going after. It’s kind of like—imagine watching a documentary about rubber balls, and there’s a two-minute clip in it about how they’re shipped that shows a truck and gives a vague handwavey map of the transportation network. At the end of the documentary, you’ll know much more about rubber balls than trucks, but that doesn’t make rubber balls more complex or more interesting than trucks are—and you have enough information to know that, even if you can’t say much more about trucks than that they exist and can carry things over long distances.
What I was actually trying to get at is a bit more subtle than even that, though—even the boys who aren’t actively trying to become specific plausible types of narratively-coherent adults are pulled into that by the assumptions of the people surrounding them, whereas the girls don’t just care less individually (of the ones you named, only Padma has anything remotely like a realistic goal for adult-herself, as opposed to a simple set of character traits or a silly fantasy that obviously won’t happen), the people around them don’t take an interest in the issue, either.