Elements of Asian Horror, based on "Kwaiden" by Lafcadio Hearn
Present in the writing style of Japanese stories are very different emphasized elements than their western counterparts.
One such element is the concept of the self. While most Western stories feature a descriptively introduced min character. The main character tends to be the most deep and fleshed out of all, whos inner thoughts we often hear and relate to. However, the Eastern style of Kwaiden reflects a completely different presentation of characters. All characters tend to be introduced shortly, as just their name, their position in society, and very little if any of their background. People have unremarkable individual existences within Kwaiden, focusing instead on what the character represents rather then materially what they are.
The purpose of this is to emphasize the concept of the self, not as its own entity, but as a cog in the universal wheel. One individual is a piece of a whole, whether that whole be a familial unit, a member of a society, or a citizen of Earth. Thus, less sensation is described in each story. Compared to the Western romantic and gothic styles, Asian horror offers far less emotive or sensation-oriented writing because it forces the reader not to limit their perspective to that of just one character, but see the bigger picture as a whole. This "whole" often represents a system of balances.
The concept of karma is another element of this system that isn't as prevalent in Western works. In Kwaiden, nearly all of the stories featured some element of karma, or the belief that what actions you take, be it good or evil, impact what actions happen to you accordingly. This ties in deeply with the concept of fate. In Asian horror, many of the characters seem in control of their own fate. For example, a man who is good to his promised wife in life finds her again after her death many years later. Conversely, a woman of selfishness, who refuses to give up her mirror to the church, dies a tormented soul.
In many cases, fates can be predicted. The short stories of Kwaiden do compare to Western gothic in the sense that they both largely feature prophetic elements. Both Frankenstein and many of Kwaiden's stories had events in the story that were previously stated, like the famous "I'll be with you on your wedding night."
This notion of karma often ends up creating a circular momentum in the story. Characters of pure intention are rewarded, and remain in good standing by the end of the story. However it takes much more effort for characters to find redemption, mirroring the belief that good karma will allow you to progress your standing in the next life and bad karma requires you to work harder to improve your life in the next one. This balance and coexistence of happiness and sadness reflects a universal balance of bliss and sacrifice. One is not without the other, and the world is not meant to be seen as perfect harmony.
Both Frankenstein and Interview with the Vampire present this concept of a balanced whole, and yet differ in their approach. Both works develop the effect of an imbalance. Victor, for example, tries to conquer this whole. By trying to play "god" and act out of his role in the universe, he unleashes a power upon humanity. Similarly, karma is present in this story too, to where his greed and carelessness causes him to loose those he loves.
In many cases, the actions of the characters take place without any other characters watching. Often, characters in Kwaiden are in the middle of the woods, away from society or judging eyes. However, karma persists. It serves the purpose that the universe is watching. The universe itself, the eternal balance, judges your actions even when you think you've gotten away with it, and karma cannot be escaped, so to always maintain virtuous.
Perhaps the most noticeable element of Asian horror as represented by Kwaiden was the fascination with death, and how the soul moves on after death. Many of the stories of Kwaiden seek to explain death or what's beyond it. Spirits in these stories exist within the natural plane, living among men. Often disguised as people, it becomes difficult to discern a spirit from a person.
Often the stories intend to warn, or wake up, the reader of the nature of reality, rather than simply to make their skin crawl. It inspires them to focus on living a better life and fulfill your microcosmic role within your macrocosm to avoid a lasting curse on your legacy.
One such element is the concept of the self. While most Western stories feature a descriptively introduced min character. The main character tends to be the most deep and fleshed out of all, whos inner thoughts we often hear and relate to. However, the Eastern style of Kwaiden reflects a completely different presentation of characters. All characters tend to be introduced shortly, as just their name, their position in society, and very little if any of their background. People have unremarkable individual existences within Kwaiden, focusing instead on what the character represents rather then materially what they are.
The purpose of this is to emphasize the concept of the self, not as its own entity, but as a cog in the universal wheel. One individual is a piece of a whole, whether that whole be a familial unit, a member of a society, or a citizen of Earth. Thus, less sensation is described in each story. Compared to the Western romantic and gothic styles, Asian horror offers far less emotive or sensation-oriented writing because it forces the reader not to limit their perspective to that of just one character, but see the bigger picture as a whole. This "whole" often represents a system of balances.
The concept of karma is another element of this system that isn't as prevalent in Western works. In Kwaiden, nearly all of the stories featured some element of karma, or the belief that what actions you take, be it good or evil, impact what actions happen to you accordingly. This ties in deeply with the concept of fate. In Asian horror, many of the characters seem in control of their own fate. For example, a man who is good to his promised wife in life finds her again after her death many years later. Conversely, a woman of selfishness, who refuses to give up her mirror to the church, dies a tormented soul.
In many cases, fates can be predicted. The short stories of Kwaiden do compare to Western gothic in the sense that they both largely feature prophetic elements. Both Frankenstein and many of Kwaiden's stories had events in the story that were previously stated, like the famous "I'll be with you on your wedding night."
This notion of karma often ends up creating a circular momentum in the story. Characters of pure intention are rewarded, and remain in good standing by the end of the story. However it takes much more effort for characters to find redemption, mirroring the belief that good karma will allow you to progress your standing in the next life and bad karma requires you to work harder to improve your life in the next one. This balance and coexistence of happiness and sadness reflects a universal balance of bliss and sacrifice. One is not without the other, and the world is not meant to be seen as perfect harmony.
Both Frankenstein and Interview with the Vampire present this concept of a balanced whole, and yet differ in their approach. Both works develop the effect of an imbalance. Victor, for example, tries to conquer this whole. By trying to play "god" and act out of his role in the universe, he unleashes a power upon humanity. Similarly, karma is present in this story too, to where his greed and carelessness causes him to loose those he loves.
In many cases, the actions of the characters take place without any other characters watching. Often, characters in Kwaiden are in the middle of the woods, away from society or judging eyes. However, karma persists. It serves the purpose that the universe is watching. The universe itself, the eternal balance, judges your actions even when you think you've gotten away with it, and karma cannot be escaped, so to always maintain virtuous.
Perhaps the most noticeable element of Asian horror as represented by Kwaiden was the fascination with death, and how the soul moves on after death. Many of the stories of Kwaiden seek to explain death or what's beyond it. Spirits in these stories exist within the natural plane, living among men. Often disguised as people, it becomes difficult to discern a spirit from a person.
Often the stories intend to warn, or wake up, the reader of the nature of reality, rather than simply to make their skin crawl. It inspires them to focus on living a better life and fulfill your microcosmic role within your macrocosm to avoid a lasting curse on your legacy.
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