Since our graduation from Hogwarts, nerds everywhere have been probing for the next big fixation. In the unending search to discover our placeholder, perhaps our thirst is already quenched by the games. Of course, I’m not talking about the button-mashing screen. I’m talking about the page. While Game of Thrones may be well-known for ruling over television kingdoms, if you’re anything like me, the Hunger Games struck theaters like lightening out of a clear sky. Yet with every rejuvenating storm, you unavoidably have some fallout.
The Suzanne Collins created series has become saturated in scandals ranging across the entire spectrum of controversy. Due to hip bandwagon popularity, some spitefully noted the conceptual similarities the plot shares with the obscure Battle Royale. Even I couldn’t help but note the similarities, but is this really anything new? Remember when Akira Kurosawa’s Hidden Fortress meshed with Flash Gordon and dashes of WWII Arial combat was released? Everyone loved basic mythology combined with Beowulf and horses. No one threw elitist hipster fits when Star Wars and Lord of the Rings: The Two Towers established their inspirational foundation. The wide-ranging notion of Romanesque battle arenas has been done time and time again, but after being exposed to this world I can fully confirm that the details put some new life-force into this general written in stone concept.
The tragically adorable Rue, one of the young tributes made to compete in the games, has sparked the most offensive of backlash. Certain members of the book fan base were irritated at what they felt was the miscasting of the actress Amandla Stenberg – several racists. Some disgusting comments have reached internet infamy, even the ears of the actress herself. Apparently ignited because of her skin color, some book readers claimed casting an African American was not an accurate physical portrayal of the character featured in the books, ignorantly missing the fact that Rue indeed actually was described by Collins as dark skinned. Yet the underlying message seems to be gapingly missed, that being…does her skin color even remotely matter to begin with?
The film audience is an estimated 61% female, yet that’s far from the only demographic it’s speaking to. The Hunger Games certainly should be celebrated for the role model superlative it achieves for present-day young adult females, but gender is largely arbitrary to the plot. This is a principal point; the sexes are rightly portrayed as equals. This attribute feels unfortunately novel to the action genre in particular. In fact, not since Ellen Ripley (Alien franchise) has there been any truly sincere female action star that wasn’t perversely sexualized in some way. I kept waiting for the scene where we conveniently stumble upon the half-naked Jennifer Lawrence bathing in the river. It fortunately (and quite refreshingly) never came. Yet for as invigorating as it is to not have another objectified female lead, I think all the above factors have spawned excitement (or outrage) that unintentionally overshadowed the point.
The Hunger Games blatantly revels in social commentary, but this is often dismissed to be the reality television craze. While it’s indeed true that the storyline was strongly influenced by current entertainment trends, that much is obvious, there’s far more relevant subjects being addressed. The government may not be reaping children and making them fend in sport for their morbid amusement, but Collins presents strong political metaphor. The most poignant theme is hopeless sociological complacency. Does it really take gladiatorial extremes to shake us out of apathy and recognize that we indeed are living in an economic system that’s all too comfortable with taking innocent lives?
Contemporary Americans are often characterized by foreigners as glutinous, violent, and egotistic tycoons, yet when we look to the faces in our political fields, regardless of party, is it really that hard to see these generalizations? In a world where the middle class is slowly going the way of the dinosaur, many struggle to afford the bare essentials of survival in a system that dictates needs in very disproportionate ways. This is echoed in the flamboyant fashion of the wealthy, styled in colorful neon cyberpunk meets gaudy Victorian pompadours and powdered wigs, contrasted by the bland and farm-like attire of the hard working districts. The sometimes outlandishly and extravagant attire of the rich helps to place emphasis upon luxury versus necessity, paralleling the narrowing wealth gap in America.
The Hunger Games is a rally call against the tainted bureaucratic regime, fundamentally calling our attention to the grim possible dystopian futures of civilization, the consequence of being content with the way things are headed. Next time you’re at an all you can eat buffet, think of the capitalist society you live in compared to the poverty struck peoples of the globe that this affects, viciously resulting in their continuing cycle of deficiency. They may amend the rules in their favor and horde the commodities, provoke us with fear tactics and Orwellian watchdogs to retain their power, but if we maintain the innate yearning to hope, this will inspire the masses. Collins sends the inspirational message that we can dethrone totalitarian corruption and greed through uniting under human bonds, ignoring trivial segregation. Make no mistake; this isn’t a race or gender war. This is a class war…and it’s staggeringly becoming less and less fictional.