The Little Mermaid (the original Hans Christian Anderson version) is an example of Campbell’s ‘monomyth’ (Vogler, 2007). As archetypes go, it is a story of the Lover as well as the Explorer (Mark & Pearson, 2001). This story speaks to both of these archetypes through the goals of the Little Mermaid; the love of the prince and an eternal soul (and in some analyses of the story, experiencing the unknown). A brand that resonates well with both of these concepts is Sherpani. Sherpani’s brand embraces the concept of “Breathe, Give, Stretch, Go.” The idea behind Sherpani is that women are unique, active, and should be able to have bags that embrace femininity and the outdoors. In their concept, breathe stands for “breathe fresh air”, give means “give your love”, stretch represents “stretch your mind and body”, and go reminds us to “never stop moving”. The Little Mermaid embodies all of these notions.
As such, one might harness the existing story in the form of a text-based novel for the main story anchor medium (Rutledge, 2013). The Little Mermaid could have an online journal (blog) which serves as a diary for collecting her thoughts, contemplations, events/experiences, and perceptions of what is happening. She could also post photos of the prince and links to dances she learns for him. And the Little Mermaid’s blog could allow for comments which could encourage readers to share stories of love, advice on how to interact with surface dwellers, princes, and/or general feedback on posts. This resonates with each of Sherpani’s core words.
The Prince may have an interactive online nautical map, complete with notes on trips, information about ships (e.g., costs, crew lists, photos, checklists for expedition preparations, etc.), information about the sea (from a surface perspective), and may solicit ideas about future trips from readers, as well as their photos, maps, and suggestions for gear. This, while not feminine per say, embraces the core concept of ‘stretch’.
An interactive game could allow readers to attempt to make it through the trial period of a Daughter of the Air to their rise to the eternal kingdom by allowing them to visit houses and collect smiles while avoiding tears. The game could be made as a downloadable mobile app or as an indie game on XBox or PS networks. The game could allow readers to accept the fate of the Little Mermaid as immortal, even after her loss, which assures the safety of the reader (Nell, 2002) regarding the immortality of his/her soul. This embraces, quite literally, Sherpani’s concept of ‘breathe’.
The Little Mermaid could also have an Instagram account on which she takes pictures of the adventures she has with the prince (i.e., exploring the kingdom). She could also have a Twitter account on which she posts observations about the trips, is able to post the Instagram photos, can mention the prince, and allow them to communicate (as she has no tongue). This resonates with Sherpani’s core concept of ‘go’.
The Little Mermaid’s five sisters could have a Vine account which would allow them to discuss hair care, the hottest products, and the latest trends in merfolk fashion as well as connect with surface dwellers (aka readers) and exchange fashion savvy. The fashion account allows the sisters’ sacrifice to be more meaningful, while allowing for immersion which carries on throughout the readers day as decisions about clothing and accessories are made. To this end, the sisters could even create a Postmark account and sell accessories by artists who have partnered up with Sherpani, as a means of supporting a social campaign like The Cove. This also embraces the core concept of ‘give’ in a variety of ways (i.e., giving love but also loving individual uniqueness and styles).
The Little Mermaid, as a fairytale allows readers to experience a roller-coaster of emotions, as she moves through her hero’s journey. Allowing readers to be involved in that journey by harnessing the innate archetypes contained therein, propels this timeless classic into its next evolution, and allows Sherpani the embrace archetypes and the telling of universal truths, an ability exhibited by icons (Mark & Pearson, 2001).
Mark, M., & Pearson, C. (2001). The hero and the outlaw building extraordinary brands through the power of archetypes. New York: McGraw-Hill. Retrieved from http://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=63620
Nell, V. (2002). Mythic Structures in Narrative. In M. C. Green, J. J. Strange & T. C. Brock (Eds.), Narrative Impact: Social and Cognitive Foundations (pp. 17-37). Mahwah, New Jersey: Lawrence Erlbaum
Rutledge, P. (2013). Case study example: The three little pigs. Retrieved from: http://athinklab.com/transmedia-storytelling/case-study-example-the-three-little-pigs/
Vogler, Christopher. (2007). The Writer’s Journey: Mythic Structure for Writers (Third ed.). Chelsea, MI: Sheridan Books. p. 3-27.