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73 pages 2 hours read

Jeff Smith

Bone

Fiction | Graphic Novel/Book | YA | Published in 1991

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Character Analysis

Fone Bone

Bone has an ensemble cast and a third-person omniscient perspective. While Thorn is the protagonist of the story, Fone is the main character. Of the core cast, Fone is the character we spend the most time with; as a result, we come to understand his perspective the best. In spite of the frequent perspective shifts, Fone is, for all intents and purposes, Bone’s point-of-view character.

Fone’s main structural role is to support Thorn as she completes her hero’s journey. Smith cites The Lord of the Rings as a key influence on Bone. With this in mind, Fone is the Samwise to Thorn’s Frodo: He is an unflaggingly loyal and practical sidekick to his narrative’s “chosen one,” who must embark on a portentous quest to defeat tremendous evil.

Among the core cast (and especially within the three cousins’ internal dynamic), Fone is the voice of reason and the straight man to Phoney’s antics. He is earnest, clever, humble, and selfless—an archetypal “good guy” protagonist who often serves as Bone’s moral compass. As the voice of reason and moderation, he is usually insightful, but he is also prone to equivocation and sometimes suggests half-measures when they will not be sufficient. The most extreme example is when he makes Thorn promise not to seek the Crown of Horns for fear that it will kill her. Had she kept that promise, the Lord of the Locusts would have succeeded in his bid for world domination.

All three of the Bone Cousins have simple, iconic designs, similar to Bimbo the Dog and early versions of Mickey Mouse. They stick out among the more naturalistically rendered Valley people and backgrounds. Among the cousins, Fone has the simplest design, singling him out as the “default” Bone the moment we see him. Phoney and Smiley each have articles of clothing and physical quirks that differentiate them from this default. Fone is further emphasized as the “main” cousin in that he is the youngest of the trio, which sets him up as a fairytale protagonist vis a vis the “youngest son” stock character. He is also a loose author surrogate in that he shares Smith’s favorite book, Moby Dick, and his voracious love of long stories.

Thorn Harvestar

Thorn is Bone’s most active protagonist. She aligns closely with archetypal hero tropes like the “chosen one” and the “seeker.” As the chosen one, she possesses special abilities that make her the only person capable of defeating the Lord of the Locusts. Likewise, the seeker trope concerns a character who is on a mission for truth: Thorn’s call to adventure is learning the truth of her origins. She spends several books wrestling with the truth, uncovering secrets, and using that information to her benefit. The honing of her powers transitions her into the role of a seer: Her powerful insight into the spirit world is what allows her to protect others, win the day, and claim the throne of Atheia.

Thorn’s character arc hews closely to the hero’s journey, and in many ways, it takes the form of a coming-of-age story. Of all the characters in Bone, Thorn changes the most dramatically over the course of the year and has the most pronounced character arc. She transitions from an anonymous farmgirl to a queen, from a nonbeliever to a spiritual symbol, and from a civilian to a warrior. The transitional stage in between presents as a period of fragility, anger, and depression. Once she accepts her role as the heir to the throne, her natural abilities as a leader rise to the surface.

Thorn is also one of several powerful matriarchs in Bone, helping to cement a motif of politically powerful women. Though male rulers exist in the world of Bone, their weight in the narrative is insignificant compared to that of queens such as Rose, Lunaria, Mim, Ven, and Thorn. The only kings we know of are Kingdok—a lackey to Briar—and Thorn’s father, who is unnamed in the story. Atheian queens, meanwhile, are depicted as generals, architects, lawmakers, spiritual leaders, and even demigods. The most powerful male counterparts to the queens are lords: Lord Tarsil the Usurper and the Lord of the Locusts, a minor political threat and an avatar for all-powerful evil, respectively.

Phoney Bone

Along with Grandma Ben and Smiley, Phoney serves as Bone’s deuteragonist. Structurally, he fills many roles: He is a red-herring chosen one and occasionally fills an antagonistic role with his many self-serving schemes. He is a hero in this story, but his most typical function is to derail the other heroes by causing hijinks, conflict, chaos, and tension. He also contributes several critical plot points: Without his loose campaign balloon, he and his cousins would never have been targeted by Briar, and therefore he is responsible for setting the story of Bone into motion. He also plays a pivotal role in resolving the story by revealing the location of the Crown of Horns.

Phoney is characterized as an archetypal miser. He is an abrasive, greedy hoarder, and his nickname is a comical reflection of his duplicitousness. Smith based Phoney on the Disney Company’s Scrooge McDuck; Scrooge’s influence on Phoney can be observed in his obsession with money, his backstory, his cantankerous affect, and even his posture. He consistently presents the most moral weakness of the core cast, offering a less threatening example of the main antagonists’ character flaws (namely power mongering, greed, and deceitfulness). His selfishness often positions him as a foil to the other heroes, especially Fone and Lucius. Phoney is best described as a huckster with a heart of gold; he is highly motivated by avarice, status, and his own safety, but he is also unwilling to abandon his cousins, even in the face of mortal peril.

The Hooded One (Briar)

Briar is a strictly villainous presence in Bone. As the “hands and eyes” of the Lord of the Locusts, she is the primary antagonist but not the “big bad.” This position helps to demonstrate a hierarchy among the antagonists, which is revealed in order as the characters are introduced: The rat creatures sit at the bottom, and the Locust sits at the top. Where the Hooded One is initially mysterious and seems almost omnipotent, learning that she takes orders from a higher station puts cracks in that façade. By the end of the story, we have a strong understanding of who Briar is and come to view her as both formidable and pathetic: She is powerful and knowledgeable, but she is also jealous, bumbling, and insane.

Briar is a sorceress and a villainous crone. She wields powerful magic, which allows her to use fear and madness as weapons. Her hood, sickle, and withered hands make her resemble the Grim Reaper, therefore tying her to death on a symbolic level. She is also associated with death on a literal level as she has both ordered the deaths of others and killed directly.

Briar’s identity reveal also highlights her gender; the other characters assumed that the Hooded One was a man until she appeared to Lucius. The way Briar plays with gender and age is presented as intimidating and twisted: she used feminine wiles to manipulate Lucius when they were young, but she also dons the face of a man in his youth—Lord Tarsil—before killing him.

The Stupid Rat Creatures

The Stupid Rat Creatures are the first antagonists introduced in Bone. They are the source of two prevalent running jokes, one of which (the quiche gag) ties into Bone’s theme of scarcity and its motif of food items. They, like all rat creatures, refer to each other as “comrade.” This term links them to pop culture representations of Russian spies, an oft-parodied villain trope that originates with American Cold War-era media.

The Stupid Rat Creatures are most commonly portrayed as a comic duo of bumbling henchmen, although they can also be posed as sympathetic or threatening when need be. Our final encounter with them in Part 9 seems to provide a concrete judgment on them. As Smiley (one of Bone’s most consistent moral barometers) says, “They’re not such bad guys, really” (1310). The Stupid Rat Creatures’ presence in the story poses some complex ethical/moral questions that are reminiscent of Roque Ja’s belief in survival of the fittest: Their violence orphaned Roderick, but if they hadn’t eaten his parents, they would have starved to death.

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