20 February 2008 @ 09:15 am
Rigging the world  
In the comments of [info]sartorias's bittercon post about elves in fiction, the whole issue of good and evil races came up.

I've always had trouble with the notion of good and evil races in fiction (though I note that Tolkien's orcs are actually a little more complex than their descendants, and his elves a lot more so), for many reasons. The implications for human race politics are bad enough, of course. But more than that, psuedo-orcs and other evil races ... rig the morality of the entire fictional world.

This became clear to me during a roleplaying game.

I'd decided I wanted to try playing a pacifist in a game that had good elves and unredeemably evil orc-analogues and so forth. The orc analogues were so unreedemably evil in fact, that playing one of them never even came up as an option.

I was playing an elf. And I decided to try playing a pacifist elf--an elf committed to non-violent conflict resolution, essentially.

Now in our world, issues of non-violence are complicated, and non-violent approaches have different effects in different situations and when used by and among different groups of people, and maybe we don't really have any absolute answers about it.

That's our world. But in a world where there's an evil race whose every last member will always want to kill you and all you stand for, no matter what? Well, in that sort of a world, being a pacifist and trying non-violent approaches comes across as incredibly stupid.

My character came across as not only an idiot, but also as a coward, and she had to revise her approaches to reflect the reality of her world pretty quickly.

Not because non-violence is inherently a bad idea, but because she existed in a fictional world that was rigged to make it a bad idea--and to make its practitioners seem like cowards. But if you didn't realize this, and you were reading--or writing--a work of fiction instead of playing in a role-playing came, it might be easy to think, "Gee, nonviolence is really stupid, isn't it?"

I don't think this is unique to nonviolence. I think worlds can be subtly and not-so-subtly rigged to support any political or world view. (I think worlds can be rigged to support nonviolence as much as to undermine it, for that matter.) Sometimes, I think we can't help rigging our worlds, and the best we can do is to keep the rigging to a minimum. Because in the end, we decide who our characters are and how they react to things.

I also think we rig our worlds even when we're writing in the so-called real world, and when magic has no part in the story. Maybe the fun of writing and reading fiction is partly that we do get to rig our worlds, in ways we don't in real life.

Yet pulling back on the rigging--forcing our characters to confront things that don't fit our world view--that can be fun, too, and can create interesting tensions.

But can we ever fully get away from rigging the world, subtly at least, even if we avoid doing something so heavy handed as creating good-and-evil races?

I'm not sure. It's an interesting question to ponder.
 
 
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Sherwood Smith[info]sartorias on February 20th, 2008 05:39 pm (UTC)
I'm finding that the more a writer implies an orthodox view for all characters, the quicker my attention wanders. A seemingly complex society in which the characters are similar in thought, predictable in action, isn't going to pull me in.

It's more than wanting the good guys to be wrong sometimes, and the bad guys to be right. I guess I'm wanting more of a sense of paradigms clashing, and the struggle to comprehend, to deal, maybe transcend without the solution being handed easily to the fervent cooing of a Greek Chorus.
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Janni Lee Simner: anime me[info]janni on February 21st, 2008 02:52 pm (UTC)
Yes, to all of this.

I mean, even within families there's a huge range of beliefs and opinions--there can be cultures with shared assumptions, sure, but not that are monolithic in their every views. And even the basic shared assumptions are likely to be seen differently by different folks, and even occasionally questioned in a culture-bound sort of way.

Unless you're using mind control, I don't believe in evil races at all.
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Sherwood Smith[info]sartorias on February 21st, 2008 03:11 pm (UTC)
*fervent nod*
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(Anonymous) on February 20th, 2008 06:31 pm (UTC)
Writing pretty much is rigging, isn't it? at least that kind of writing we call fiction. We rig a world to have a happy ending (or at least one that will sell). Most censorship happens not when we choose to leave something out, but when we choose what things to include. In a game like you were playing, pacifism was most likely never an option. My trashy reading is military fiction, preferably SF. In the last novel I read by John Ringo he had an eight-year-old girl who became a cheerful killer (think Shirley Temple with an Uzi). This character was so unbelievable, I may never read another John Ringo novel again. It was a total violation of the concept of innocence. In B grade novels of the sort, there often appears a pacifist character who is weak, secretly power-hungry and totally oblivious to the 'reality' of the fictional situation. They invariably commit egregious, totally self-centered and flat out stupid acts that they then die for horribly. These characters are not even caricatures, just badly drawn cartoons. They are nothing less than product placement for political prejudices. I believe that the difference between an artist and a hack is that a hack's story exists solely as a bully pulpit to further retread ideas that he himself has not fully investigated, an artist knows theirself and allows the story to unfold the idea they are investigating.

wplasvegas
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Janni Lee Simner: anime me[info]janni on February 21st, 2008 02:59 pm (UTC)
Agreed--it's important to let characters be complex, even if this makes the writing uncomfortable. Not to mention remembering that no character sees themselves as a villain in their own story.

Pacifism does seem one of those things that's particularly badly handled in fiction, possibly by all sides--the temptation for polemic is so strong. It took me years to realize how complex a thing nonviolence is.

(And it's not like creating a major apocalyptic war, as I did for Bones, isn't a form of rigging, too.)

It could be an interesting discussion to ask around what the other issues are that tend to get much rigged, too.
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shewhomust: watchmen[info]shewhomust on February 20th, 2008 06:36 pm (UTC)
Yes! This is something I became aware of reading superhero comics. (And it's not everywhere I would admit that!).

I think it would be at the time when the assumption was that the X-Men don't kill, and Wolverine joined the team and confronted that rule. At one level this seemed like a very interesting discussion for this kind of story to be having; but since the X-Men were constantly meeting hostile, unscrupulous and super-powered opponents, and pulling buildings down around them - well, it became less a question of what they did, and more a question of what they admitted to.

It was thinking about this that led me, eventually, to the idea that all fiction is fantasy, because it always takes place in an invented world, in which the author makes decisions about which moral strategies are actually feasible.
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Janni Lee Simner: anime me[info]janni on February 21st, 2008 03:03 pm (UTC)
Yeah, I think all fiction is fantasy, too. :-)

Sounds like X-men (which I'm familiar with but haven't read--but I think reading comics a fine thing!) is sort of trying to have it both ways? To seem complex, but create situations which rig the answers to the complexities?

Things become more complicated by the fact that I'm not even sure we do it on purpose. I know I tend to wind up with worlds rigged toward nonviolence, though I never set out to do it. I wonder if it's more a matter of knowing our biases than avoiding them, so we can at least handle them in a non-simplistic way?
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shewhomust: watchmen[info]shewhomust on February 21st, 2008 04:46 pm (UTC)
Oh, this was long ago when X-Men, like most mass-market comics, was more tightly targeted at an adolescent audience. So there were all the sort of issues that come up about suitability for YA fictions. So on top of whatever the author (creative team, I suppose, in this case) was aiming form, you also had editorial pressures (which came to a crunch with the death of Phoenix, where a fairly late editorial intervention necessitated a change of story imposed in part over completed artwork: but I digress).

And I'm sure you're right that part of the learning curve for the writer, here as with so much else, is finding out what you are doing unconsciously, by default, and then deciding whether you meant to do it or not!
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