– Hesitation, emotions and the Digital Fantastic
Content warning: this blog contains themes including mental illness, trauma, self-harm, suicidal ideation and death. Please engage with this content responsibly. Also bear in mind that although I have a diagnosis, this in no way qualifies me to speak on behalf of others who share it. The only experiences I can speak to are my own.
When people ask me what I’m researching, I tell them that I’m studying single-player, narrative driven Fantasy video games, but that’s not entirely true. It’s roughly the type of content I’m investigating, but like most PhD researchers, I didn’t figure out my actual topic until well into my second year. Or more accurately, I didn’t realise it: the name of my blog ‘Digital Fantastic’, which I chose at the start of my PhD journey, should have been a tip-off.
To quote my own literature review:
“The Digital Fantastic is a state of hesitation that elides the binary between the digital and non-digital world via affective experiences in which the player treats digital characters (NPCs), as if they were people.” (Elvery, 2024)
It is a concept I’m developing which resituates a much contested piece of ‘Fantasy’ theory by scholar Tzvetan Todorov. I won’t go into a full explanation of my theory here – that’s what my thesis is for. This post, as usual, dear reader, is all about me. This blog is situated in the place where my research and personal life meet, more specifically, it details how my experiences have unconsciously informed my research interests.
I have been fascinated by Todorov’s theory of the fantastic ever since I first encountered it during my Fantasy MLitt. It’s lucky that our lecturer, Rob Maslen, included the text on the syllabus, as this theory’s connection to the genre of Fantasy and its content is tenuous at best. In fact, it is often argued that it’s only lumped in with Fantasy theory because the term fantastic and Fantasy are so often conflated.
For Todorov, in its most simple form, the fantastic is hesitation. It’s a state of uncertainty experienced by readers (often mirroring a character in the novel) that arises when neither the character, nor the reader, can explain the events occurring by attributing them to supernatural forces which disrupt the textual reality, or accept them as explained by the natural laws of the built world. Todorov’s fantastic is situated in liminality: for readers to experience it they have to read in a receptive manner which simultaneously accepts multiple textual meanings and be open to the notion that these meanings are shaped by the interaction of their subjectivity with an uncertain textual reality. The fantastic refuses to set discrete boundaries: the line between fantasy and reality is blurry, and the only truth perhaps, is an emotional truth, rather than an objective one. This is why it’s observed so frequently in literature oft categorised as horror – are the ghosts real, or are they a result of characters’ distorted perceptions of reality? If the events are not real, does that make the characters’ experiences of them any less so? By refusing to give answers, the fantastic denies anyone the authority to determine which interpretation of reality is more valid than another. If you’re interested in notable textual examples, two of my favourites are The Haunting of Hill House by Shirley Jackson and The Yellow Wallpaper by Charlotte Perkins Gilman.
I understand where Fantasy theorists are coming from when they say they consider the fantastic to be separate from Fantasy. Much of the literature we think about when asked to name works of Fantasy rely on us to buy into worlds which have been built according to a set of logical rules. World-building requires a level of certainty to work, which makes Fantasy literature more similar to mimetic literature than we may realise (for more on Fantasy and mimesis, see Kathryn Hume). The fantastic asks us to retreat from that certainty and consider a world where we cannot count on things being as they appear. The fantastic is, by nature, unsettling. It illuminates quite how tenuous the line between fantasy and reality is and asks us to consider that the way we experience reality is a matter of perspective. When we hesitate, however briefly, we make space, in that moment, for a multiplicity of realities to exist and it is only when we act that we choose one over another. Hesitation is the dialectic between fantasy and reality: it’s how we negotiate our emotional truths with the realities presented to us, which helps us consider how to best reconcile the two. If Fantasy, as my teacher Dr Maslen, often says, is ‘the literature of the impossible’, then the fantastic is the literature of possibility. But, it is more that. The fantastic is a mode of being, one which illuminates both the uncertainties of lived experience and acknowledges its potentiality.
Really then, it shouldn’t have come as a surprise that I finally realised what the topic of my thesis is when I started to understand my situation with regard to my mental health. In part, it’s a result of my improved cognitive capacity facilitated by an intense regime of medication, self-care, and the understanding of those close to me. Perhaps it’s also because I have finally gotten a little closer to understanding what causes me so many problems. The answer, of course, dear reader, as you may have guessed, is hesitation. I realised that, at times, I occupy my own little realm of the fantastic: the dialectic between myself and my emotions is very much one of uncertainty. I cannot trust my feelings, which makes me hesitate about who I am, what I value and whether what I experience is reality. The fantastic is a space that I occupy, not just in my research, but in my daily life.
So about those feels…
I’ve heard that some people don’t think about their emotions much – they’re just something that’s there, something they feel. Maybe they question them from time to time, but often they’re just a fact of life, a function of being. Feelings do things.
A post on mental health blog Verywell Mind gives a brief overview of what feelings are for. Emotions are signals, they’re supposed to tell us something. Emotions can inform us about our environment, motivate us to take action, help us avoid danger, make decisions, enable others to understand us, and us to understand others. Though emotions are subjective and individual to the person feeling them, being able to understand and label our own feelings can inform us about where we are positioned in relation to the reality presented to us. Much of what we feel about things can inform us about who we are.
So, can emotions be wrong?
Of course they can, but by analysing them and checking our realities with other people, we may be able to come to some sort of compromise about how to reconcile the way we feel with the reality we’re presented with, and by doing so, form a judgement about where we stand on a given issue, which helps us understand who we are. When we consider this in relation to our interactions with other people, there may even be no objective facts, just the negotiation of different emotional truths as we all experience situations and relationships, differently. Even if we find out that we have been misinformed, it does not make the emotional experience of that situation any less real for the person experiencing it.
For example: if someone were to leave a message you’ve sent them on read without replying, you may feel slighted: what if they’re upset with you? What if they don’t like you anymore? Much of this can be solved by stepping back, curbing your emotional empathy (feels) and using cognitive empathy to try and understand the situation from the other person’s perspective. Perhaps they’re tired, maybe they’re just busy or maybe they read the message mid-task and forgot to reply to you. The feeling of rejection you experience is just a reminder that you care about the person and what they think of you, or in the case that you actually have done something wrong (like sent an unsolicited dik pic) it’s there as a warning that tells you that you should, perhaps, adjust your mode of social interaction and consider boundaries. As feminist Sara Ahmad explains, in The Cultural Politics of Emotion: “it is through emotions, or how we respond to objects and others, that surfaces or boundaries are made: the ‘I’ and the ‘we’ are shaped by, and even take the shape of, contact with others”. By telling us how we feel in relation to external stimuli, emotions help inform who we are, figure out what we believe and adjust our values in response to the feedback they give us. Listening to our feelings and observing how they change when we interact with each other, brings us closer to understanding our own emotional truths.
Some people (*neurotypicals*) find it easier to listen to this feedback than others, it’s learned behaviour, automatic. For others, such as myself, understanding our emotions is a little more challenging. As I mentioned above, my whole life has been characterised by uncertainty. I have spent much of it being told that I was ‘too sensitive’, wrong to feel the way that I felt about things or to feel things AS LOUDLY and INTENSELY as I do, so instead of feeling my feelings I learned to avoid them in some of the worst ways possible. When I feel something, I don’t trust that feeling, I assume it’s not appropriate and push it away to the point of disassociation, which leaves me feeling numb and empty, which makes me panic and causes me to look for something, anything that will make me feel something and as soon as I do, I push that feeling away too because I don’t know how to deal with it – rinse and repeat. I have struggled so much to force my emotions to conform to what I perceive to be the ‘norm’ or an objective reality, that I have denied myself the experience of emotional truth. What I am coming to terms with is that I was never wrong to experience emotions – it was wrong that I felt I had to push them away. The more I ignore my feelings, the more loudly they scream for my attention, and the more severe they become, which makes me want to feel and express them even less. Eventually the screaming gets too loud to ignore and manifests as an emotional extreme.
I spill my coffee, I miss a train, I want to kill myself.
Of course, those things aren’t really what I’m upset about. The extreme emotions I experience about trivial things stem from an emotional truth, but through repression and avoidance have become divorced from their context and arise as perceptual distortions. Experiencing these distortions makes me trust my emotions even less. The dysregulation of my emotions means that they don’t always give me accurate feedback, which makes it hard to identify the ones that do. It’s not something within my control: I try my best, but my brain just works a little differently and I don’t yet have access to treatment that would help me. Whenever I manage to identify that I may be experiencing a disproportionate emotion I try and remind myself that I might be angry, or upset, about something that has already happened. Maybe it’s something I have not processed, do not understand, or I am experiencing a reaction that was once accurate to a past situation, but does not apply to the current scenario – except when it does. It is also important for me to try and learn when I am allowed to feel upset. I try and observe situations from the outside, test my reality and treat myself as I would treat a friend.
Still… It’s difficult to understand what I’m feeling about anything most of the time, but little by little, through a lot of hard work and failure, I am starting to listen to myself, create boundaries and police them a little better. My recent diagnosis has proved a useful tool to help me better understand why I might feel the way I do sometimes.
If I am triggered by something specific like a scene from a movie, or a situation I perceive as threatening, then what I’m upset about is probably in relation to my PTSD, as unfortunately, I have experienced trauma.
If I am triggered by a seemingly innocuous interaction with another person, it is likely that I am struggling with an aspect of my Borderline Personality Disorder which makes me doubt them, doubt myself and doubt the interactions between us. I experience emotion as a constant state of hesitation. Sometimes, experiencing hardship seems easier than living through a ‘normal’ day because at least then I have a reason to feel as loudly as I do – but it doesn’t work like that. More often than not, when something bad happens I feel numb; I push those feelings away because I am scared of what feeling them will do to me. They always, however, come back to haunt me.
Having emotional dysregulation makes it difficult to know who I am and what I believe. I spent many years silencing myself. I never allowed myself to have an opinion or express a feeling in public for fear of saying something incorrect or behaving in a way that was inappropriate – the shame I experienced (often disproportionate to the action) was so painful that it wasn’t worth the risk. I also tend to isolate myself, because getting to know people that I might hurt, or might hurt me, is a risk. I have reinvented myself numerous times, worn countless faces and taken many names. I allowed myself to be treated in ways I would now consider unacceptable, because I had no way of judging my emotional boundaries. It’s also easy not to care about how people treat you, when you don’t feel like a person yourself. I hid myself away in a place where I didn’t have to feel anything or be anyone.
Then I found Glasgow, returned to my studies and by studying Fantasy I finally started to come to terms with my reality. I gained recognition for my work and my sense of humour. I started to feel like I had something to say, to contribute. I started to talk to new people honestly, for the first time in years, and started posting on social media. Interacting with others allowed me to test my reality, and the reality is, that despite my difficulties, a lot of what I think, and feel, is valid and does matter. Over the past year I have gradually stopped the majority of my avoidant coping mechanisms to improve my physical and mental health so that I can focus on my research. I also knew that the things I was doing were increasing the chances that I would die a premature death. I had a moment of hesitation, and in that moment of hesitation I asked myself a question: is life really worth all this pain? In the middle of all my uncertainty, I had a moment of absolute clarity and I answered myself: Yes. My emotional truth is that I want to live. Little by little, I stopped avoiding life and I started living. I stopped running away from myself and turned to face all of my feelings. I started to feel them.
I am still uncertain about who I am and how to deal with my emotions, but I do know that I love to work and I love to write. I don’t know whether it’s apt, or ironic, that the only thing I’m certain about is my research on hesitation and The Digital Fantastic.
Thank you to my editor Marita Arvaniti for her continued hard work, support and honesty.
Thank you to my partner Ollie, who helps me to feel brave enough to feel my feelings.
Ahmed, S. (2014). The Cultural Politics of Emotion (Second edition). Edinburgh University Press.
Gilman, C. P. ( 2017). The Yellow Wallpaper. Wisehouse Classics.
Hume, K. (2014). Fantasy and Mimesis: Responses to Reality in Western Literature. Routledge.
Jackson, S. ( 2009). The Haunting of Hill House. Penguin Classics.
The Important Role of Emotions. (n.d.). Verywell Mind. Retrieved 9 December 2020, from https://www.verywellmind.com/the-purpose-of-emotions-2795181
Todorov, T. (1975). The Fantastic: A structural approach to a literary genre. Cornell University Press.
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