Pseudocide, or faking one’s own death, offers a tantalizing escape from reality, and the possibility of starting fresh. There’s something thrilling about the idea of disappearing and starting over, leaving behind all the problems and complications of our old lives.

The concept of pseudocide has been around for centuries, with the first known story dating back to ancient Rome. In the tale of Claudius, the Roman politician faked his own death to avoid assassination attempts, and ultimately went on to live a long life in hiding.

Others report the earliest tale of pseudocide can be traced back to ancient Greece, and the story of Empedocles. Legend has it that the pre-Socratic philosopher allegedly threw himself into the fiery crater of Mount Etna, leaving behind only his sandals as a testament to his supposed demise. However, his charade was eventually uncovered.

Whether you go Roman or Greek, the notion of vanishing from the world by orchestrating one’s own death isn’t a new idea, but still resonates with readers and movie goers today.

Evolution of the Trope:

The use of pseudocide in literature gained popularity during the Romantic era, when writers like Edgar Allan Poe utilized the trope in his stories. In “The Cask of Amontillado,” the offending character lures his victim into a wine cellar and walls him up alive, before faking his own death and escaping.

Over the centuries, pseudocide evolved into a recurring motif in literature. In Arthur Conan Doyle’s iconic “The Adventure of the Empty House,” Sherlock Holmes masterfully fakes his own death. Doyle uses the trope again in “A Game of Shadows,” when Holmes grabs the evil Moriarty and jumps into Reichenbach Falls. Watson believes Holmes has met his end, but his mystery solving partner is sitting right in front of him the entire time.

In Agatha Christie’s classic “Death on the Nile,” where characters play with the idea of disappearing through staged deaths, the pseudocide concept was skillfully woven into narratives of mystery and suspense.

The Dark Side of Pseudocide:

While it’s tempting to romanticize death faking, there’s also a darker side to the pseudocide trope. Many characters who fake their own deaths do so out of desperation or as a last resort.

In “Romeo and Juliet,” knowing that her family will never approve of her love for Romeo, Juliet drinks a potion that allows her to mimic her death. Once the potion’s effects wear off, she plans to reunite with Romeo and run away with him. Upon awakening, Juliet finds that her love is committing suicide and she decides to join him.

In Truman Capote’s “In Cold Blood,” the two main characters kill a family of four and attempt to escape by faking their own deaths. The story highlights the desperation and hopelessness that can lead someone to take such drastic measures.

In Tana French’s Irish thriller “The Likeness,” the main character fakes her own death to go undercover and solve a murder case. While her intentions were noble, the consequences of her actions have lasting effects on both her and those around her.

In real life, pseudocide is usually associated with tragedy and desperation. While I could find no law that explicitly criminalizes faking one’s own death, the associated crimes such as insurance fraud, tax evasion, or escape from a crime are illegal. The real life pressure of such dilemmas can lead criminals to try the out.

Popularity of the Trope:

Despite the often-tragic circumstances surrounding pseudocide, readers and viewers continue to be drawn to the trope. Perhaps it’s the sense of adventure and excitement it offers, or the opportunity to experience a life-altering decision without actually having to face the consequences.

For authors, it offers a thrilling escape from reality and a chance to explore the darker corners of the human psyche. While the reasons for faking one’s death may vary from story to story, the enduring appeal of the trope lies in its ability to make readers question their own motivations and desires. Additionally, the concept of pseudocide presents an opportunity for authors and filmmakers to challenge conventions and play with reader and viewer expectations.

For characters, it’s a way to create power and control over one’s story life, as the characters who fake their deaths are able to manipulate their circumstances and deceive those around them.

For readers, perhaps it’s the thrill of the unknown, the idea that someone could disappear without a trace and start a new life. Or maybe it’s the emotional complexity of the situation, drawing the reader to imagine what they might do in a similar situation.

Ultimately, for authors, characters, and readers, the popularity of the pseudocide trope reflects our universal desire for new beginnings and the possibility of redemption. It’s a reminder that no matter how dire our circumstances may seem, there’s always a possibility for change. The journey of discovery, as the story reveals the truth behind the elaborate charade, creates an immersive experience that keeps authors telling tales, and audiences on the edge of their seats.

From Page to Screen:

The concept of pseudocide has been explored in countless stories throughout literature and film. The trope has proven to be a timeless literary and cinematic device that continues to captivate audiences today.

The most recent blockbuster movie featuring pseudocide, is Gillian Flynn’s “Gone Girl,” wherein Amy Dunne disappears herself and her husband Nick becomes the prime suspect in her presumed death. She finally shows up on their doorstep, bleeding and half clothed, and faints in dramatic fashion in his arms before a crowd of reporters.

My favorite example of the trope is found in the book and film “The Talented Mr. Ripley” by Patricia Highsmith. The protagonist, Tom Ripley, fakes the death of his friend Dickie to take over his identity and wealth. The story is a fascinating exploration of the psychology behind pseudocide, and the lengths one will go to in order to achieve their desires.

In the film “Sleeping with the Enemy”, Julia Roberts character fakes her own death by falling overboard at sea. Although her husband believes that she can’t swim, Laura makes it to the shore, moves away, changes her name, and meets a new love. Eventually, her husband finds her wedding ring in the toilet and comes after her. She wins out in the end when she shoots him in her new living room.

Other famous death fakers are James Bond in “You Only Live Twice,” Nikita in “Le Femme Nikita,” Nick Parsons in “Double Jeopardy,” John Kramer in “Saw,” and Jim Phelps in “Mission Impossible.” And, who didn’t love being fooled in “The Sting” when the elaborate setup by the characters played by Robert Redford and Paul Newman unfolded?

My Take On Pseudocide:

In my latest legal thriller, Dead By Proxy, attorney Quinton Bell must fake his death in order to escape a life-threatening dilemma. It sets him on a course of action that leads him down a dangerous path, filled with deception and betrayal. As he navigates the murky waters of his new life, Quinton is forced to confront the consequences of his actions and the cost of his newfound freedom.

The use of pseudocide in Dead By Proxy offers a fresh take on a classic literary device, exploring the complicated emotions that come with such a drastic decision. It’s a thrilling tale of survival and redemption, one that is keeping readers on the edge of their seats until the very end.

Conclusion – The Appeal:

Pseudocide is an enduring trope that has transcended time, weaving its enigmatic charm across cultures and media. As long as human desires for reinvention, escape, and a fresh start persist, pseudocide will continue to captivate the literary and cinematic landscape. Whether it’s used to highlight desperation and hopelessness, or to explore the psychology of power and control, the appeal of pseudocide remains as strong as ever.

***