The superhero Wolverine time travels and changes storylines. On
Torchwood, there's a pill popped to alter memories of the past. The
narrative technique of retroactive continuity seems rife lately,
given all the world-building in comics. Andrew J. Friedenthal deems
retroactive continuity, or ""retconning,"" as a force with many
implications for how Americans view history and culture.
Friedenthal examines this phenomenon in a range of media, from its
beginnings in comic books and now its widespread shift into
television, film, and digital media. Retconning has reached its
present form as a result of the complicated workings of superhero
comics. In comic books and other narratives, retconning often seems
utilized to literally rewrite some aspect of a character's past,
either to keep that character more contemporary, to erase stories
from continuity that no longer fit, or to create future story
potential. From comics, retconning has spread extensively, to
long-form, continuity-rich dramas on television, such as Buffy the
Vampire Slayer, Lost, and beyond. Friedenthal explains that in a
culture saturated by editable media, where interest groups argue
over Wikipedia pages and politicians can immediately delete
questionable tweets, the retcon serves as a perfect metaphor for
the ways in which history, and our access to information overall,
has become endlessly malleable. In the first book to focus on this
subject, Friedenthal regards the editable Internet hyperlink,
rather than the stable printed footnote, as the de facto source of
information in America today. To embrace retroactive continuity in
fictional media means accepting that the past itself is not a
stable element, but rather something constantly in contentious
flux. Due to retconning's ubiquity within our media, we have grown
familiar with narratives as inherently unstable, a realization that
deeply affects how we understand the world.
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