The Unreality of Twilight: A Critical Analysis of Fantastical Elements and Love Triangles

The Twilight series, authored by Stephenie Meyer, has captivated readers since its release in 2005. However, the fantastical elements and the controversial depictions of characters' behaviors often come under scrutiny for their unlikelihood. This article will explore the unrealistic aspects of the Twilight series, with a particular focus on the fantastical elements and the highly debated love triangles.

Characterization and Realism

Twilight is not only a romance and young adult novel but also a captivating example of Low Fantasy. This series prominently features vampires and werewolves, which are not present in the real world. The fantastical elements, such as immortal beings who feed on blood and those with supernatural senses and strength, are central to the plot but are inherently unrealistic.

One of the most criticized aspects is the depiction of Bella Swan's character. Despite being locked in the Cullens' home for three days without her consent, Bella is described as not being angry or even slightly upset. This portrayal can be attributed to several factors, including the series' oversimplified treatment of emotions and the romanticized portrayal of supernatural beings.

The Incarceration of Bella and Interference in Relationships

Edward Cullen's actions to prevent Bella from seeing Jacob, a werewolf, are a prime example of the unrealistic elements in the series. Detaining someone against their will, even in the name of love, is not a behavior aligned with typical human or societal norms. Furthermore, the resolution where Bella forgives Edward and continues to remain devoted to him and his family, despite her imprisonment, raises ethical concerns. This scenario can be seen as either a lack of realistic portrayal of human psychology or a deliberate choice to emphasize the overarching theme of the couple's fate.

The Love Triangle and Its Unlikelihood

The love triangle formed by Jacob, the werewolf, Bella, the human, and Edward, the vampire, is one of the most debated aspects of the Twilight saga. Critics argue that this romantic situation is highly improbable in the real world, as it defies typical human logical thinking and emotional responses.

According to psychological assessments, Bella's behavior is questionable. Her complacency after being held captive and her emotional stability despite the dramatic events suggest an unrealistic portrayal of mental health. This is further supported by the absence of any significant psychological distress or trauma as would be expected in a realistic scenario.

A Critique of the Setting and World-Building

The Twilight series, despite being set in a recognizable, real-world environment, is heavily grounded in fantasy. While the setting appears realistic, the existence of vampires and werewolves contradicts scientific and logical understanding of the human body and biology. The portrayal of these supernatural beings, with their extraordinary abilities, further reinforces the unrealistic narrative.

The series also fails to fully explain the intricacies and the social norms of the supernatural world, leaving readers to accept these elements without sufficient justification. The lack of such explanations often results in an unsatisfactory blend of realism and fantasy, leading to perceived absurdity.

Conclusion

In conclusion, the Twilight series is a prime example of Low Fantasy, incorporating supernatural elements that are inherently unrealistic. The characterization, particularly of Bella Swan, raises ethical questions about the portrayal of human emotions and psychological well-being. The love triangle, while central to the plot, is highly improbable and defies typical human behavior and logic.

While the Twilight saga has its merits, such as a compelling romance and a dedicated fan base, these elements are often overshadowed by the series' unrealistic portrayals. As a work of fiction, Twilight offers a fantastical escape, but it fails to provide the level of realistic detail and psychological depth that would make it more relatable to readers.