2. What is the fourth wall?
• The fourth wall is, in the context of theatre,
the physical separation of the actors from
the audience when on stage
3. • In the broader context of fiction it refers to
the separation of the reader/watcher from
the story and its characters
• However it is possible for the fourth wall to
be “broken” by having characters address
the audience directly or otherwise blur the
line between the two
4. • This has appeared in various forms since ancient times
and some characters’ explicit purpose in the story, for
instance the Greek Chorus, has been defined by the fact
that they directly address the audience
5. And yes that means that breaking the fourth wall is not in and of itself post-modern
since as far as we can tell it came into being at about the same time fiction itself did
Which means those of you who think one thing is so much edgier and/or progressive
than another else since it breaks the fourth wall can get off your high horse now
Capeesh? Good, now that we’ve taken care of that…
6. • With modern technology and an increased
ability for fans to interact directly with the
creators of certain works the fourth wall
and its relationship to the audience has
become progressively murky
7. The Theory
This slideshow will posit the theory that
much of fandom’s bad behavior can be
directly explained by examining their
relationship to and understanding of the
fourth wall or, as the case may be, by the
lack thereof
8. Case Study 1:
The Draco In Leather Pants
• As defined by TvTropes, the “Draco In
Leather Pants” effect, hereafter referred to
as DILP, is when
“Fandom downplays a villain's
evilness, often due to his looks”
9. • A careful examination which characters this
effect tends to be applied to reveal certain
patterns, for instance
– The character is male
– The character is considered physically attractive
– The character is portrayed by an actor who is
considered admirable
• This last point is the one we will focus on for this
analysis
10. • Our theory is that the DILP effect is
directly related to fandom’s inability or
unwillingness to separate a character’s
actions from that of their actor
=/=
11. • This is based on a desire, either conscious
or unconscious, to not be perceived as
rooting for the “wrong” side or being
attracted to someone who is less than
admirable
• Therefore, the “wrong” actions are spun to
be not wrong, and have some justification
that instead makes them heroic
12. • Which, not coincidentally, is often exactly
what the villains tell themselves
13. • What fandom fails to realize is that it’s not
only acceptable but in some cases
encouraged that we like villains
• And that it’s perfectly fine to not only like a
villain in spite of but because of their
negative actions while also appreciating
their more positive attributes
14. • This combination of positive and negative
traits is intended as a warning, to show
how good intentions can ultimately lead to
negative actions and consequences
• This is tied to the concept of the Tragic
Hero, whose positive or admirable
qualities allow us to empathize while being
aware of their ultimately self-destructive
flaws
15. • And unlike what sensationalist media will
claim people as a whole realize that
negative actions, no matter how cool they
are, are not meant to be imitated
16. • It’s when an individual shows an inability
to understand this concept that it becomes
cause for concern
17. • Related to the actors themselves, many
actors whose characters are prone to the
DILP effect are known for being lovely
people in real life
• Therefore, the DILP effect can in part be
explained by fans misattributing positive
feelings for the actor onto the character
18. A classic example is the film A Fish Called Wanda where test
audiences expressed concern over Michael Palin’s character
whenever he is in danger – despite also spending the whole
movie trying to assassinate an old lady, something audiences
chose to ignore or attempted to explain away
19. Therefore, the DILP effect is an attempt to
avoid this association by claiming the
villain is not actually a bad person and in
the process downplaying or ignoring their
negative actions
Which, ironically, creates the very delusional
mindset that they sought to avoid
20. • However, an understanding of the fourth
wall allows one to realize that such mental
gymnastics are not necessary
• Because fiction is not the same as reality
21. In conclusion
YES, YOU CAN LIKE VILLAINS
NO REALLY, YOU CAN
AND ACKNOWLEDING THEY’RE AWFUL
PEOPLE DOESN’T MEAN YOU THINK
ANY LESS OF THE ACTOR OR THAT
YOU’RE NOT A GOOD PERSON
YOURSELF
