Sugar, Spice & a Spoonful of Fear: Why Fear is the Secret Ingredient in Every Genre (Part 2: Comedy, Adventure & Fantasy)
- Natasha Langridge-Thorpe
- Feb 18
- 18 min read
Updated: 6 days ago
Check out Part 1: Horror, Drama & Romance!
In part 1, we explored how fear can be used as a powerful tool to create more immersive and emotionally compelling horror, drama, and romance stories. It can add depth, stakes, and even humour to any narrative, regardless of the genre.
Have you ever found yourself completely absorbed in a story, not just watching or reading it, but feeling it because fear heightened the emotions?
Fear in Different Genres
In part 2, let's delve into how fear plays a crucial role in comedy, adventure, and fantasy stories. Perhaps you're focusing on the absurdity of a character's irrational fears or delving into the thrill of confronting the unknown in an epic quest. You could even write about the tension of magical dangers in a fantastical world.
Comedy
Discussing the comedy genre in the context of fear might seem unusual. You could argue that comedy and fear directly oppose each other since fear is typically associated with negative connotations, whereas comedy films are designed to make audiences laugh. However, some of the funniest moments can arise from characters reacting to their fears in exaggerated, unexpected, or ridiculous ways.
The universal nature of fear makes characters more relatable. When a character panics, freezes, or runs away, people can easily empathise with them and their situation.
Incorporate fear into comedy by balancing high stakes with exaggerated responses for comedic effect. This approach fuels character-driven humour and crafts memorable, hilarious moments. Perhaps your protagonist has an over-the-top reaction to a minor inconvenience, or they try to act courageous but fail.
Techniques for Writing Fear in the Comedy Genre
Exaggeration and Overreaction
One of the most effective ways to make fear humorous is by having a character's reaction be wildly disproportionate compared to the actual threat. Characters could overreact physically, verbally, or emotionally. This overreaction can turn one small problem into pure chaos, amplifying the comedy.
Physical Overreaction
A physical overreaction could involve screaming, running, or flailing. Consider incorporating these reactions into your scripts by envisioning extreme body movements. This could range from a seemingly tough character fainting out of fear to a character scrambling to climb something when there's no real danger.
For example, in my favourite Christmas film, Home Alone (1990), the burglars react with exaggerated fear and pain in response to Kevin's booby traps. This makes their characters appear more comical than menacing.
Verbal Overreaction
Verbal overreactions could involve a character talking too much, too fast, or making dramatic statements in response to fear. Their exaggerated verbal response could unnecessarily increase the tension or reveal their panic in a humorous manner. You could explore a character's verbal reactions by employing rapid dialogue, incorporating stuttering, or creating long-winded explanations to heighten a character's comedic panic.
In Shrek (2001), Donkey has a tendency to keep talking incessantly when he's frightened. This is demonstrated in the scene where Shrek and Donkey must cross a bridge to rescue Princess Fiona from the dragon-guarded castle. The film highlights Donkey's fear of heights in a comedic manner through his exaggerated reactions.
As Donkey crosses the bridge, he reassures himself by repeating "don't look down." However, he accidentally breaks a piece of the bridge, panicking and shouting, "Shrek, I'm looking down!" He screams to get off the bridge, but Shrek dismisses his fear. The comedic effect is heightened by the contrast between Donkey's exaggerated, fearful response and Shrek's nonchalant attitude as he teases Donkey about crossing the bridge.
Donkey's exclamation, "I'm gonna die, Shrek, I'm gonna die!" amplifies his sense of fear. By the end of the scene, Shrek successfully tricks Donkey into crossing the bridge without Donkey realising it. Not only does this scene use fear for comedic purposes, but it also shows Donkey's resilience as a character.
Emotional Overreaction
It might sound odd, but characters displaying intense emotions tied to their fear can be a great source of comedy. An emotional overreaction could include fainting, excessive crying, or being frozen in fear. For instance, think about your most fearless character. Then, create a scene where this character unexpectedly breaks down in tears over something trivial to introduce unexpected humour.
In The Muppets, Miss Piggy is known for fainting at the slightest sign of distress and quickly recovering when it's convenient for her.
This transforms what should be considered a serious reaction into a recurring joke on the show. Her selective fainting is dramatic and exaggerated, which plays into the trope of melodramatic divas.
Ironic Fear or Fear of the Wrong Thing
You can utilise fear in comedy by making a character terrified of something harmless, making their reaction to it feel absurd. Additionally, the character might be oblivious to a real threat, overlooking the actual danger due to their fixation on the imaginary threat.
This contrast between perception and reality creates situational humour. The audience's awareness of the truth can heighten the comedic effect. In reality, we all have irrational fears, so exaggerated depictions of them can make us laugh. The more a character obsesses over their ironic fear, the more significant and funnier the ultimate payoff becomes.
In Hot Fuzz (2007), the protagonist, Angel, is focused on the murder conspiracy unfolding around him. The comedy arises from the way that Angel and the town's residents respond to various threats, with the townspeople often fearing the wrong things while ignoring the actual dangers, such as a swan on the loose and graffiti, all the while acting oblivious or ignorant about the brutal murders occurring in the town.
Ultimately, it is uncovered that the town's secret organisation is behind the murders, but their motives for killing people aren't linked to major criminal offenses. Instead, they are targeting individuals for trivial reasons, such as poor acting in a community play or starting a rival supermarket. This is portrayed as comedic because the audience expects a deep, sinister reason behind the murders. However, it's all about preserving the town's aesthetic image.
Running Gags and Recurring Fears
A running gag is a recurring joke or comedic element in a story, often increasing in absurdity over time. When fear is used as a running gag, it can enhance humour and build character depth. It provides the audience with something to look forward to and laugh at each time it appears.
To effectively use a fear-based running gag, it should be tied to a character's personality or backstory, making the fear seem organic rather than forced. The fear should also be introduced early enough for the audience to quickly recognize the pattern for it to be funny when repeated. However, don't be tempted to repeat the same joke. Instead, alter the situation, heighten the fear, or add an unexpected twist.
This approach allows you to build towards a big payoff. For example, the final time that the gag appears should either be the most exaggerated version or a subversion. Maybe the character finally overcomes their fear or gets defeated by it in the funniest way possible.
Throughout Friends (1994), Chandler's commitment issues are a central part of his character, influencing his relationships with others. His fear is often expressed through sarcasm, humour, and avoidance. This running gag leads to several amusing and awkward scenarios that evolve over time.
Fear as a Catalyst for Absurdity
Using fear as a catalyst for absurdity involves amplifying fear to such an extent that it leads to a series of over-the-top, absurd events. You can do this by allowing the fear to grow and escalate into something that is disproportionate to the actual situation. The build-up of irrational paranoia can transform a minor issue into a catastrophe, affecting a character's ability to think logically or act rationally under pressure. This can then result in ridiculous outcomes.
The fear could start as something small or relatable, possibly something that could hardly be considered a threat at all. This will help you set up a relatable scenario that the audience can connect with, allowing them to understand why a character might feel nervous or anxious.
For instance, in Father Ted (1995), Bishop Brennan visits the main characters, Ted and Dougal. However, Dougal has just gotten a pet rabbit, and the Bishop is afraid of rabbits due to a bad experience in his past. Ted and Dougal attempt to hide the rabbit from the Bishop, but the situation escalates when more and more rabbits appear in the house.
The situation reaches its peak absurdity when Ted and Dougal take extreme measures to hide the growing number of rabbits. For instance, hiding them at the local greyhound track or trying to give them to their accident-prone friend, Father Duff. By the end of the episode, Bishop Brennan wakes up to find himself surrounded by rabbits (and sleeping next to Father Jack) and he screams in terror.
By using fear as a catalyst for absurdity, the show creates a hilarious, escalating situation that begins with a minor issue and quickly escalates in a way that makes the audience laugh.
Adventure
In the adventure genre, fear can balance high-stakes excitement with moments of vulnerability. These stories typically involve dangerous landscapes, thrilling escapes, and heroic journeys. Fear adds depth to these moments, enhancing their emotional impact. Whether it's the fear of failure, betrayal, or personal limitations, successfully incorporating fear can add tension and emotional weight to action sequences and character arcs.
Fear helps the audience relate to the protagonist, making their victories even more satisfying. Using fear to raise the stakes will convince the audience that failure is possible, adding a layer of realism to your scripts. Even the bravest of heroes should have fears to overcome. Exploring fear in adventure stories can transform them from good to unforgettable.
Techniques for Writing Fear in the Adventure Genre
Explore Themes of Betrayal and Trust Issues
In adventure films, the fear of betrayal can be just as intense as physical danger. In the midst of high-stakes adventures, characters often depend on their allies to survive. However, what happens when they can't trust those closest to them? When a character doesn't know who to trust, paranoia can set in. This fear of betrayal can add tension and emotional depth to an adventure story.
Foreshadowing this betrayal is crucial to ensure that it doesn't seem completely unexpected. The key is to strike a balance between not making the betrayal too obvious and incorporating subtle warning signs that the audience may overlook until it's too late.
For example, Zuko's betrayal in the season 2 finale of Avatar: The Last Airbender (2005) is subtly foreshadowed and doesn't feel random. It stems from his internal conflict throughout the series. The show introduces small moments of doubt and hesitation. For instance, when Azula first offers Zuko a chance to regain his honour, he hesitates, indicating that he wants to trust her but is uncertain. Iroh also warns Zuko against trusting Azula, which foreshadows that siding with her is the wrong decision.
You can delve deeper into this betrayal by making the hero's trust costly. Katara is one of the first members of Team Avatar to openly trust Zuko, offering to heal his scar with the Spirit Water. This act of kindness makes his betrayal hurt even more, as she truly believed in his redemption.
Zuko's greatest fear is the possibility of never gaining his father's approval and being permanently cast aside. Azula manipulates this fear, convincing Zuko that this is his only chance to return home. Desperate to no longer feel lost, Zuko prioritises his family over his morals. His act of betrayal is shocking, deeply personal, and it shifts the direction of the story. The underlying fear isn't about being defeated in battle; it's about losing trust in the belief that someone could change.
Raise the Stakes with a Time Limit
Fear can feel more intense when you're under pressure. When a character has a limited amount of time, they don't have the opportunity to pause, reflect, or plan. Their fear can overpower logical thinking, forcing them to take immediate action. Sometimes this can cause them to make mistakes, further heightening the tension.
Visible Countdowns
You can amplify the fear by using the classic ticking time bomb scenario, where a specific amount of time remains before a disaster occurs. In Mission: Impossible - Fallout (2018), the nuclear bomb countdown forces Ethan Hunt to push his physical and mental limits. Every second counts, and fear escalates as he races against time.
You could incorporate visible countdowns into your narratives, like watches, timers, or flashing red numbers. The hero might anxiously check the time or struggle under the pressure. Additionally, you can show that your characters are using last-minute solutions to avert chaos. This approach keeps the audience on edge as they anticipate the outcome.
The Build-Up of Fear
It's important to recognise that not all time limits involve immediate danger. Sometimes fear can build up over hours, days, or weeks as a deadline approaches. In The Revenant (2015), Hugh Glass knows that his wounds will become infected, his resources are limited, and winter is approaching. Fear intensifies throughout the film as time ticks away.
In your adventure story, you might introduce an unavoidable event, such as an approaching storm or dwindling food supplies. Then, you could show characters tracking the passage of time. They could count the days, stare at the sky, or check on their decreasing inventory. You can then illustrate how fear has changed their behaviour, such as making hasty decisions, becoming more paranoid, and growing desperate.
Imposing a time limit makes the fear more real and urgent. The audience should feel like they're racing alongside the characters, holding their breath with each passing second. By combining physical challenges, impending deadlines, and critical decisions, you can create intense, heart-pounding scenes.
Make Fear Personal
Consider a hero who has no fear. This would make them seem unrealistic and not relatable. Therefore, it's important to give your protagonist personal fears that challenge them. These fears might be physical, like claustrophobia. They could even be emotional, such as the fear of failure. Maybe they're psychological, like the fear of becoming like the villain. By integrating personal fears, the adventure becomes more than just confronting external threats; it also involves the hero battling their inner demons.
A classic way to build tension involves giving the hero a fear that directly impacts their journey. This forces them to confront their fear at the worst possible time. In Indiana Jones and the Raiders of the Lost Ark (1981), although Indiana Jones is a daring explorer, he hates snakes. When he finds himself in a snake-filled pit, his reaction heightens the tension and makes him come across as a relatable character. It reminds us that he isn't completely invincible; he's human.
You can successfully explore your protagonist's fear by introducing it early in the narrative. This way, its reappearance at a crucial moment will seem natural. The fear should also complicate the adventure. For instance, if the hero is afraid of water, then they might need to cross a raging river. Then you can show their struggle to overcome their fear. Do they face it head-on, or do they freeze?
Some heroes fear that their quest for victory could lead them to cross the moral line and become what they hate. In The Dark Knight Rises (2012), Bruce Wayne fears that if he fully embraces Batman's darkness, he'll become indistinguishable from the criminals he fights. You can explore this fear by giving the villain and the hero similar traits while highlighting the hero's concern about going too far.
Introducing a moral dilemma could also be effective. Will the hero seek revenge or choose to walk away? Then you could show that the hero makes a different choice from the villain to prove that they're not the same.
Giving your adventure hero a personal fear makes them relatable, multi-dimensional, and emotionally compelling. Whether it's a physical phobia, self-doubt, a moral conflict, or a fear of loss, it adds depth to their journey and makes their victory seem deserved.
Trap the Hero with No Escape
A powerful method to instill fear in an adventure story is to trap the hero in a seemingly inescapable situation. When a character realises that there's no escape, the audience feels their fear and becomes engaged in their fight for survival.
Before you trap the hero, you can create a false sense of security, leading the hero and the audience to believe that they are safe. This contrast between hope and sudden peril will make the fear more impactful.
For example, in The Mummy (1999), Jonathan discovers what appears to be a harmless scarab embedded in the wall. At first, everything seems calm and quiet, which lulls the characters and the audience into a false sense of security. However, once he pries the scarab beetle loose, it burrows into his skin. He panics and screams. Fortunately, Rick intervenes and saves him by quickly cutting the scarab out with a knife before it can hurt him.
The attack is sudden and overwhelming, swiftly turning curiosity into sheer terror within seconds. This transition shocks the audience and highlights the unpredictable dangers of the tomb.
Sometimes the real trap isn't physical at all; it resides in the hero's mind. If they believe that there's no escape, then they might freeze, hesitate, or make reckless decisions. Blurring the lines between the adventure and fantasy genres, in Harry Potter and the Prisoner of Azkaban (2004), the Boggart preys on each character's worst fear. This causes characters to panic, and the fear itself becomes the trap. Overcoming the fear is the only way to escape.
Additionally, you could use psychological traps by focusing on the hero's personal phobia, which hinders their progress. A villain could also manipulate their mind, convincing the hero that escape is impossible.
Fantasy
The fantasy genre, one of my favourites, is often associated with magic, mythical creatures, and epic quests. Fear plays a crucial role in making fantastical worlds feel dangerous, immersive, and emotionally compelling. It's vital to recognise that fear in fantasy extends beyond monsters. It can also be about the unknown, the cursed, and the inescapable fate that haunts characters and viewers.
Your fantasy scripts could focus on the presence of an ancient evil, the terror surrounding a cursed artifact, or the psychological horror of losing one's humanity. By weaving fear into your stories, you can elevate the stakes and deepen the emotional impact.
Incorporating fear into fantasy narratives maintains audience engagement, drives curiosity, and explores world mysteries. Additionally, it can be used as a powerful tool for enriching world-building, adding depth and complexity to forbidden lands. Fear reveals a world's history, rules, and hidden dangers, making it feel truly lived-in.
Techniques for Writing Fear in the Fantasy Genre
Forbidden Places
Fantasy stories frequently include locations that people should never go. For instance, haunted forests, ancient ruins, or cursed cities. However, for one reason or another, characters must enter these forbidden places. Their reluctance to enter these places isn't solely due to physical threats like wild animals or harsh climates. They are usually frightened of something far more terrifying that lurks within the world.
When you're creating your fantasy stories, consider designing a fantastical world that no one dares to venture into. The environment could be hostile, filled with whispering voices and unnatural darkness. Alternatively, you could depict the setting as tempting yet terrifying, forcing the heroes to risk their sanity and safety. This approach will help you build a sense of dread before revealing the true horror.
In Spirited Away (2001), the Bathhouse serves as a place where spirits from all over the world come to cleanse themselves. At first, it seems like a lavish and magical place. However, there are multiple layers of danger and fear beneath its surface.
The protagonist, Chihiro, finds herself in this unfamiliar and dangerous environment without any understanding of how the system operates. Her vulnerability and fear of the unknown heightens the sense of danger within the Bathhouse, especially because she doesn't know who she can trust.
Chihiro's fear grows when she realises that she's trapped in a world where spirits can easily manipulate her fate. Furthermore, there are scenes where she is forced to work under harsh conditions for people who don't care about her well-being. Her fear of being eternally trapped in this world and transformed into a spirit herself adds to the overall tension. In this example, the fear isn't just about the physical dangers of the world, but about losing her identity in a world beyond her control.
Monstrous Creatures
The fantasy genre allows you to create unique creatures, ranging from grotesque dragons to shadowy wraiths. However, what makes them truly terrifying isn't their appearance alone, but what they represent. By giving your monsters a horror that goes beyond their physical form, they can embody deeper fears like corruption, loss of identity, or existential dread.
In the Harry Potter (2001 - 2011) franchise, the Dementors are more than just shadowy creatures. They literally drain the happiness from others. They're not scary just based on their appearance, but they're terrifying because of what they take away from their victims. Rather than just a physical danger, they embody deeper, existential fears. They attack without reason or emotion; they simply consume and remain immune to normal weapons.
The worst fate isn't death, but having your soul sucked out and being left as an empty shell of yourself. A well-crafted monster not only poses a physical threat to characters, but it also challenges their beliefs, morals, and sense of self.
Cursed Objects
Fear doesn't have to be alive to be terrifying. Your stories don't always have to focus on a monstrous creature of some sort. You can create fear by introducing a cursed object into your narrative. For instance, a powerful object could have horrible side effects. This could be a sword that steals the soul of its wielder.
A cursed object could initially appear as beautiful, but you can add subtle hints to gradually reveal its danger. This approach helps build the mystery and allure behind the object before fully revealing its terrifying effects.
It's also crucial to give your character a clear need. What do they need throughout the story? This could involve saving someone, winning a battle, or gaining something that they're willing to risk everything for. Establishing what your character needs will make it believable that they could be tempted to use a cursed object, as their desires blind them to the dangers.
Using cursed objects can also lead to unforeseen consequences. An object could grant an individual all the wealth and power that they desire, but it could also force them to pay a price. They may not fully understand what this price is or be aware of the severe repercussions until it's too late.
In the Lord of the Rings (2001 - 2003) franchise, a simple gold ring is found. It possesses a captivating, magical allure and promises power to its user. Over time, the audience witnesses how the powers of the ring influence the bearer. It slowly corrupts various characters, including Gollum, Frodo, and Boromir. The ring distorts their minds, consumes their will, and makes them paranoid. The fear stems from the realisation that the ring is not only physically dangerous but also mentally destructive. Nobody can escape its influence without paying a heavy price.
Forbidden Magic
Like cursed objects, forbidden magic can also lead to irreversible consequences. Characters who engage in dark arts or attempt to control forces beyond their comprehension should anticipate frightening repercussions. In many cases, the magic they pursue for power or knowledge is considered taboo. This indicates that others have likely failed or suffered before them. These spells not only have the potential to cause physical harm, but they can also inflict emotional and mental scars. The real fear isn't in the immediate horror of the magic itself, but the long-term effects of using it.
It's important to depict forbidden magic as alluring due to its offerings, such as the ability to change fate, defy death, or control others. This temptation is what makes the magic dangerous in the first place. The desire for control can override the character's sense of right and wrong.
In The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe (2005), the White Witch casts a spell that makes it always winter, but Christmas never arrives. The magic that she uses is a manifestation of her desire for control and represents the stagnation of life. Everything is frozen, and time feels like it's standing still. The witch's magic traps the world in a state of eternal despair, and her fearsome power forces others to submit to her rule.
Introducing cursed objects and magic can help you create a story where power, greed, and temptation are just as dangerous as any monster lurking in the shadows.
Prophecies and Inevitable Doom
You can create a continuous feeling of dread by incorporating a prophecy or unavoidable catastrophe in your fantasy narrative. The details of the prophecy could be vague or misleading at first. Consider if you want the prophecy to mean what people initially think it means. This ambiguity can generate tension among the characters since they don't have all the information.
However, even knowing the future doesn't mean that you can stop it. Show your characters struggling against their fate. The fear isn’t just about the immediate danger, but about the lack of control over one’s own destiny. This will make the audience wonder if the future can actually be changed.
When characters become aware of the prophecy, they may spend time figuring out how to avoid it. The fear becomes less about the prophecy's outcome and more about whether their attempts to change it will cause it to happen earlier or in a more detrimental manner. You can heighten tension in your fantasy stories by showing that characters are trying to resist their fate and are afraid of making the wrong decision. Sometimes characters can make choices that lead to worse consequences rather than if they had resisted fighting against their fate in the first place.
In Star Wars: Episode III – Revenge of the Sith (2005), Anakin Skywalker fears the prophecy that he will bring balance to the Force at the cost of losing Padmé. His inability to escape his fate is a core part of how his fear drives the story forward. While trying to prevent her death, he ultimately turns to the dark side. The notion that fate is inescapable, regardless of one's efforts, is a deeply existential fear that can be used to shape the entire world and the characters within it.
Fear: A Fusion of Comedy, Adventure, and Fantasy
Fear is a versatile storytelling tool that enhances comedy, fuels thrilling adventures, and enriches world-building. Whether it's the absurdity of exaggerated panic, the adrenaline-fueled suspense of a daring escape, or a stunning yet frightening forbidden realm, incorporating fear into your stories can create narratives that captivate, surprise, and resonate with audiences long after the credits roll.
So, how will you use fear in your next story? Experiment with these techniques, push your characters to their limits, and create moments that linger in your audience's minds.
Check out Part 3: Action, Mystery & Thriller
Comentarios