Metafiction and Meta-character
- 5 days ago
- 5 min read
The Line Between Reality and Fiction
The films we watch, the books we read and the songs we listen to are usually crafted to create the impression that they are true stories. However, artists sometimes deliberately break this rule. They acknowledge that the story and its characters are self-aware. This is known as “metafiction” and “meta-characters”.
“Meta” means “about” or “regarding itself”. In other words, the work explicitly acknowledges its own fictional nature and reveals this to the audience or reader. This technique engages the audience, taking them out of the role of passive spectator. It is both entertaining and thought-provoking. So, what is its purpose, how is it achieved, and why is it used? Let's take a look together.
First, let’s understand metafiction. This narrative form questions its own existence, making it clear that it is aware of being a work of fiction. The narrator’s perspective is different. They observe and narrate the work as if sitting beside us. It's not just the narrators who do this, though. Authors do it too, breaking the fourth wall whenever and however they please. Furthermore, a story can contain another story within itself.
Sometimes, a character in a novel or an actor in a film will make direct eye contact with the reader or viewer. Such a character is known as a meta-character. They are aware of the story's rules, poke fun at the script, and may even address the audience directly. Meta-characters have a high level of self-awareness and adapt their role according to the work's theme.
Now that we have the concepts firmly in mind, let's revisit our question. Why and how is it used? What purpose does it serve?
The most fundamental reason, of course, is to raise the question of reality. By blurring the line between reality and fiction, it once again prompts us to ask whether life is a performance. In such situations, bear in mind this line from Shakespeare: “All the world's a stage, and all the men and women merely players.”
Most of us have either watched The Truman Show, one of Jim Carrey’s most fascinating films, or are at least familiar with the plot. I believe it is the perfect example of this idea. If you’d like another example, I’d recommend the film Stranger than Fiction.
Another strength is the ability to inject criticism and humour into the work. This satire may be directed at the work itself or at other works.
For instance, in Don Quixote, widely regarded as the first modern novel, the author, Miguel de Cervantes, pokes fun at himself. This likely makes it one of the earliest examples of a meta-work. From a cinematic perspective, one could cite the Scary Movie series, which many of you will have heard of, even if you haven't watched it. The series mocks horror film clichés in an absurd manner. This is achieved by reworking scenes from horror films to make them comical and ridiculous.
Another approach, as mentioned earlier, is to give the audience a role to play. This makes the audience active participants, drawing us in. This can be achieved through direct address or unexpected questions posed to us.
You must have heard of the Deadpool character. He is one of the first characters that come to mind when the term “fourth wall” is used in a modern context. This is the most distinctive and flexible aspect of his character in the comic books. As an immortal meta-character, he acts with the awareness that everything is a work of art. This naturally shapes his personality. He is very comfortable with the camera and is not afraid to criticise Marvel. This is also evident in the animated series Rick and Morty. The main character is aware that he is in a series, and the narratives of the universes are intertwined. My favourite episode highlights the simulation narrative that emphasises our topic.
In literature, Italo Calvino, a member of the French literary group Oulipo, is renowned for his unconventional and creative works, including If on a Winter's Night a Traveller. In this narrative, which is divided into sections, the author addresses the reader directly as “you” with great intimacy. It feels as though we are reading the book together.
I’ll cover the last two points together, since they are related. Using this form, which is not found in every work, is undoubtedly quite bold. After all, it may not be understood or considered engaging. It is also important to consider where this meta-process begins. For example, will it be present throughout the entire story, or will it develop after a specific event? Which characters will possess this “superpower”, and why will the others be deprived of it? If such questions fail to satisfy the curiosity of the audience or readers, they may backfire. One reason for using this form is its innovative structure and the surprises it contains. As previously mentioned, in order for this structure to be presented correctly and consistently, it must be woven into the theme. Philosophical depth is another reason for using this form.
If you’re thinking, “Why must there be philosophy in everything?”, it’s worth remembering that everything in life can be linked to philosophy in the truest sense of the word. A philosophical structure often refers to the subtext of a work. The core narrative does not necessarily have to be brought to the surface, and these layer(s) can only be understood by examining them in detail through research and questioning. Yes, I’ve actually mentioned the key word: “layers”. Alternatively, we could call them “veils” or “covers”.
In my view, this aspect of the meta-structure is the most beloved, intriguing and surprising. It's just like dreams within dreams. Although we sometimes confuse our dreams with real-life experiences, successive dreams only serve to intensify the sense of illusion. One film that springs to mind is Inception. The meta-structure lends itself more readily to blending with fantasy, science fiction or cyberpunk, as elements belonging to unique universes are highly likely to feature in surreal works.
Another example is Vanilla Sky, starring Tom Cruise. The protagonist is consumed by a sense of aimless doubt because he cannot convince himself or others of anything. Like the character, we eventually discover a reality-detached structure beneath the narrative's surface.
With the surge in terms such as “the millennium”, “data”, “the cyber world” and “the internet age” works produced around that time were perfectly suited to this genre. Personally, these are my favourites. The finest examples are the 1998 film Dark City, the 1999 film The Thirteenth Floor, and the subsequent The Matrix series. Each one explores themes of simulation and artificial reality. At some point, the characters realise that their world is a construct.
Although visual and textual narratives tend to dominate in this respect, they can also be found in other contexts.
In video games, for instance, titles such as The Stanley Parable and Undertale poke fun at the player’s choices, thereby influencing the game's outcome. This creates the sensation that the game is being interfered with from outside, or that the choices are meaningless.
In music, artists sometimes refer to their own work in lyrics, saying “this is a song”, or involving the listener. Queen’s famous lyrics will no doubt spring to mind. Another example is Pink Floyd’s The Wall. Here, the wall serves as a theatrical meta-layer, awaiting demolition or transcendence. I believe that most of Tool's songs could also be cited as examples here. However, if I had to choose just one, it would be the Parabol/Parabola tracks.
In conclusion, this form elevates artistic expression beyond mere entertainment, placing it within a thought process. Not every work conveys this with the same impact, of course. Nevertheless, I assure you that these works contain elements that make us question our lives and shake us to the core. In the digital age, particularly amid the rise of social media and reality TV, this technique becomes all the more meaningful.
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