top of page


Sometimes, businesses find themselves in dangerous waters when trying to engage their audience through emotionally charged popular narratives. Often enough, we see businesses initiating or tagging onto sensitive conversations involving race, politics, skin colour and gender; some nail it, others damage their brand catastrophically, and most end up making their conversations seem unauthentic. Remember how the race to position themselves with the Black Lives Matter movement came out for most brands? Those who didn’t filter the narrative through their own brand personality, or present it through their true views and ideas, had their audiences disengaged, and sometimes even enraged. That awkward Pepsi ad, which only became famous as a tone-deaf disaster of a story, is probably the best example. 


Engaging with popular narratives is a good thing to do; It shows that the brand is alive, current, listening and responding to the world that its consumers live in. But, not every brand can tag onto every narrative. It must be authentic; there must be history, connection or reason; And most importantly, it must be delivered right through the business’ persona, values, and tone of voice.


When we were helping the in-house team at Rithihi—one of Sri Lanka's most beloved saree boutiques—to identify its brand voice and story styles, it became important to demonstrate how to engage with certain topics that were sensitive. At the height of the Covid-19 pandemic in India, as the death tolls were sky-rocketing, it was insensitive to talk about the beauty of sarees handmade in areas like Banaras, Kanchipuram and Ludhiana, which were devastated by disease. It was important to address this, and convey the brand's authentic emotions towards the catastrophe; However, it was a highly emotionally-charged topic and there was already growing criticism on how some brands were delivering their messages. We created a newsletter with stories that celebrated the skill and beauty of artisanal communities affected by the pandemic. The message was approached through Rithihi's values, while the response to the situation was framed through the brand's personality framework. The stories, as always, were delivered strictly through the brand voice that we carefully identified for Rithihi. As a result, the message was authentic in reflecting Rithihi's true views and sentiments, and it was well received. This story led to creating many meaningful conversations between the business and its audience.


During Sri Lanka's economic crisis in 2022, many hospitality businesses struggled to articulate why it’s still worthwhile to visit the island along with the reasons for the peaceful protests that were sweeping across the nation. It was a challenging message to coin. However, it couldn't be ignored or overlooked by any business inviting people to visit Sri Lanka; especially with the spread of misinformation and sensational news making Sri Lanka appear unsafe. Here's how we helped one of our longstanding clients in hospitality to articulate this message with the earnestness and sense of humour true to their brand voice.


These kinds of emotionally charged narratives are where a brand's true strength in communications is tested. In both these instances, the brand articulation framework that outlined the business values and the voice were the key tools in getting these stories right. 


A well-articulated brand persona and voice are the most important tools you have when navigating through complex or sensitive narratives. They are your frameworks to be truthful and authentic.


If you want to find out more on how we consult and create stories to help businesses navigate through challenging messages, and complex narratives, send us a message.



Jagath took out a half-full chilli powder packet from the pocket, undid the rubber band, and sprinkled a generous amount on his omelette. Seeing the bright red powder dotting the blandness of the beige egg instantly made his mouth water.

“Ado, don’t you have gastritis?”, shouted Hilmi, his bar mate, from across the table. Six men—all religiously present for their wife-pardoned weekly bar banter—joined in chorus, cautioning Jagath on the dangers of chilli powder as they soaked their livers in double distilled arrack with 66% alcohol content.


Jagath dismissed them with a wave of his left hand while its right counterpart got busy attempting to cut up the chillied omelette with the fork edge. His tongue prickled alive with the burning red thrill of chilli.


“You know gastritis is a disease of doing it halfway. If you eat chilli, you’ve also got to cool your gut after with some curd. I don’t do halfways… I go all the way…” he picked up a piece of egg-tinged flaming chilli red and shook it in front of Hilmi’s face with an obnoxious smirk.


Hilmi laughed and reached over into Jagath’s pocket asking “Do you actually carry around a chilli packet?”


Jagath swatted Hilmi’s hand with his, leaving an oily chilli splatter on his skin. All the tipsy men around the table laughed like a chorus of Sunday crows.


“You laugh. But, do you know, one of our buggers saved his life and escaped slavery because he had a packet of chilli handy?” asked Jagath from the table.


“What tall story you have there?” laughed Alles.


“Tall? This is a true story, son. Straight from the news. You buggers don’t watch the news, noh? So, listen to your old Jaga now. I’ll tell you what’s happening in this world and how a packet of chilli will save you,” Jagath assured.


Hilmi, Alles, Devro, Lalith, Punchi and Ranjith all turned their heads to listen.


The only thing that Jagath loved more than chilli and arrack was telling a good story. He drank deeply from his arrack and smacked his lips in preparation for the delivery.

“So, one of our young buggers thought he was doing the right thing, flying off to Thailand for a job. But, it was a scam..and he was sold to some Myanmar terrorist group…and got put in a slave camp with some hundred-odd more prisoners where everyone was being forced to scam people online…imagine…they were given nine days to secure a target, otherwise beaten until blue…”


“This is for real?” asked Ranjith.


“Yes machan, yes. News, noh? And you know who they were forced to target? Lonely old men who chat up girls on the internet…” Jagath said, looking pointedly at Punchi (who avoided his eyes and returned to the glass of arrack).


“Yeah…,” Jagath continued; “so these buggers had to pretend to be some young girl and lure men in, and then, these scammed old men who bit the bait were passed onto the actual women in the slave camp for the second step…calls with videos…when they would ask for some thousands of dollars for a plane ticket to visit those old men…and you know the rest, noh?”


Six bloodshot eyes around the table stared transfixed at Jagath, who shook his head and devoured another piece of omelette.


“One of these old men that our local bugger had lured into the scam, lost everything to it and took his own life…tsk…damn shame… This was the turning point for our bugger, who thought he couldn't do this anymore, collecting bad karma for the benefit of terrorists, and planned to escape. But, you can’t just escape a terrorist camp, you know?”


Jagath savoured having all eyes and ears hung on him for a few seconds before continuing.


“So, the next time their location was being routinely switched—small groups of prisoners being shuffled around in a van—our bugger tried to bribe the driver…but the driver refused. So, you know what our bugger did? He reached for the packet of chilli powder that his Ma gave him when he left the country—something this poor bugger kept at hand to remind him of home—and threw it in the driver’s eyes. The prisoners got together and beat the driver up, snatched their passports and ran into the jungle. After walking for miles, they met some monk who connected them to the embassy, and this bugger came back home alive to tell the tale.”


Alles shook his head in disbelief, others drank or sighed deeply, finding themselves momentarily sobered from the story.


“And that my friends, is why you always carry a packet of chilli around, eh? It’ll save your life from slavery; whether it’s to terrorists or bland food…” Jagath chuckled at his own joke, but no one else did.


“Son, bring me a curd to appease my gut, will you?” Jagath shouted at a disgruntled waiter.



This fictional story was based on the true accounts of a Sri Lankan man who escaped the Myanmar terrorist-operated cyber crime enslavement camp, in November 2023. Read another story about Jagath from our shadow series.


-


Miranda July's celebration of everyday heroism with quirky characters; Robert Downey Sr.'s satirical critique in "Putney Swope." Quentin Dupieux, aka Mr Oizo’s deadpan humour and surreal narratives. Published works by Joseph Campbell, Maureen Murdock, and Zeno Franco explore universal hero journeys, feminist perspectives, and the psychology of heroism. Iconic characters like Liz Lemon and Deadpool add humour to their heroic narratives. While businesses, including Old Spice, Snickers, and Poo-Pourri, define themselves as hero brands through humorous campaigns.


-

 




Archetype → Hero

Rasa → Hāsyam


-


December 2023


Artistic expressions channelling archetype in rasa

  • Everyday heroism: Miranda July, an American filmmaker, artist, and writer whose work often explores quirky and unconventional characters. Her work often celebrates the quirks of everyday life. July's characters often engage in acts of everyday heroism, such as breaking out of social norms, expressing vulnerability, or challenging the status quo in small but meaningful ways. The way her characters navigate challenges and interact with the world often involves a whimsical and comedic sensibility, providing a unique lens through which to explore heroism.

  • Humour as social commentary: "Putney Swope" is a 1969 American satirical comedy film written and directed by Robert Downey Sr. The film is known for its irreverent and provocative commentary on race, advertising, and corporate culture. The film serves as a vehicle for social commentary and satire, with Putney's character embodying a critique of racial stereotypes, consumerism, and corporate greed. As a token African American executive who unexpectedly becomes the leader of an advertising agency. Despite the absurd circumstances of his appointment, he seizes the opportunity to make significant changes within the agency, reflecting a sense of personal agency and empowerment.

  • Deadpan humour: Quentin Dupieux, under his alias Mr. Oizo, is known for his surreal and unconventional music videos that often align with the unique and absurd narratives found in his films. Many Mr. Oizo music videos feature protagonists who are unconventional or defy traditional expectations. The use of deadpan humour and satire, present in both Dupieux's films and music videos, creates a distinctive tone.


Published ideas of archetype in rasa

  • Hero's journey: Joseph Campbell's "The Hero with a Thousand Faces." This work, published in 1949, explores the concept of the hero's journey as a universal mythological motif found in various cultures throughout history. Joseph Campbell, a comparative mythologist, identified common stages and archetypes that appear in the stories of heroes across diverse cultures and religions. Campbell outlines the monomyth of hero's journey, a narrative pattern that involves a hero leaving their ordinary world, facing trials and challenges, undergoing transformation, and returning with newfound wisdom or a boon for their community.

  • The Heroine’s Journey: Maureen Murdock's work provides a feminist perspective on the Hero's Journey. In "The Heroine’s Journey," she explores the unique challenges and narratives of female protagonists and critiques traditional hero narratives from a gender perspective.

  • The Banality of Heroism: Co-authored by Zeno Franco and Philip Zimbardo, This article explores the psychology of heroism in everyday life. It discusses the factors that lead individuals to engage in heroic acts and challenges simplistic notions of heroism by examining the complexities involved.


Characters channelling archetype in rasa

  • Liz Lemon in "30 Rock" (TV series, 2006-2013): Liz Lemon, portrayed by Tina Fey, is the head writer of a comedy sketch show. Her character's quirks and comedic situations add humour to her attempts at managing work and relationships, making her a relatable and comedic hero.

  • Juno MacGuff in "Juno" (film, 2007): Juno, played by Elliot Page, is a teenage girl dealing with an unplanned pregnancy. Her wit and humour, combined with a sense of responsibility, make her a modern comedic heroine navigating complex life decisions.

  • Deadpool in the "Deadpool" film series (2016-present): Deadpool, portrayed by Ryan Reynolds, is an unconventional and irreverent superhero known for breaking the fourth wall. His humour, anti-hero antics, and self-awareness add a comedic twist to the superhero genre.


Channelling the archetype in rasa for business

  • Old Spice: "The Man Your Man Could Smell Like" (2010): Old Spice's "The Man Your Man Could Smell Like" campaign features Isaiah Mustafa in a humorous and over-the-top portrayal of a confident and suave character. The campaign became a viral sensation, using humour to redefine the brand's image.

  • Snickers: "You're Not You When You're Hungry" (2010-present): Snickers' ongoing campaign revolves around the idea that people become different personalities when hungry. It often features celebrities in humorous situations, and the central message is that eating a Snickers can return you to your normal self.

  • Poo-Pourri: "Girls Don't Poop" (2013): Poo-Pourri's humorous campaign challenges taboos around bathroom-related topics. The "Girls Don't Poop" commercial features a confident and unapologetic character, presenting the product as a hero in awkward situations.




bottom of page