Atmosphere is a very
important component in Sword & Sorcery, and some of the greatest
practitioners of the form were also really good at building the mood
of their stories and the imaginary places where they were set. I do
not think that is a coincidence. Howard was a storyteller of intense
action and brutal violence, but a perusal of his tales reveals a
knack for vibrant description and the clean evocation of both
wilderness and decadent civilization. Moorcock was (and is) gifted
at creating a powerful aura around his stories, when he wants to, and
even Leiber as his most waggish created places that live and breathe
with a strange feel and magic of their own.
One of the foremost
elements of the atmosphere of the best S&S stories is a pervasive
and often inescapable sensation of doom. That is – the idea that
the characters, and perhaps their entire world – cannot escape a
grim fate. Howard first to establish this, and he definitely drew
somewhat on the Norse ideas of Ragnarok as well as his cataclysmic
imaginary history to infuse his tales with a feeling of ultimate
foreboding. There is always the sense that whatever is accomplished
by his heroes will inevitably be destroyed someday. A parade of
fallen empires and ruined cities attests that what men create will
always fade.
It may be said –
and has – that a man who shot himself at the age of thirty would
have an outlook that tended toward the bleak, and Howard was
certainly no optimist. Much of the suspicion and disdain for
settled, civilized life on the part of Conan and Kull was his own,
and he regarded the decline and fall of civilization – often at the
red hands of barbarian invaders – to be an unavoidable future.
That is not a common sort of attitude for an American, who at the
time were prone to boosterism and hopes for progress. You might say
it was a result of the Depression, but Howard’s outlook was in
place long before the crash confirmed some of his more pessimistic
ideas.
Other influential
writers were just as prone to this fatalistic worldview. Moorcock’s
Elric tales were textbook workouts in the Doomed Champion archetype,
and his heroes all struggle mightily against their fates but cannot
avoid them, no matter how they struggle. At most his characters can
buy a few years of peace and happiness, before the world comes
crashing down around them. Leiber’s characters struggled to find
their way, only to end up as the pawns of gods or wizards, and things
never ended up the way they wanted. For all his whimsy, Leiber’s
Nehwon was pretty grim and unfriendly. Wagner’s worlds were even
blacker, and needless to say Lovecraft’s own worldview was that we
are all doomed to madness and death no matter what we do.
This all grows out
of the roots of S&S in Noire fiction, with characters depicted as
deeply flawed and trapped in a corrupt, unfriendly world where
friendship leads to betrayal and love is fleeting at best. There are
not many happily ever afters in this kind of story, and when you add
the fantasy element to this, the whole thing can easily become woven
into the worldbuilding as a fact: civilizations will crumble, empires
will fall, cities will lie in ruins, races will die and vanish, and
even the world itself may be brought down into destruction.
All of this does two
things. For one, it creates an operatic aura of doom over all the
stories and characters, because we see everywhere the evidence that
everything dies and falls into ruin, so that even great struggles are
placed against a longer perspective. And a big part of the evidence
is the presence of ruined cities and temples and other remnants of
things that have gone before. This creates a mood of antiquity that
gives depth to the worlds, and also creates cool locations for
treasure hunts and sword fights. A death duel in some ruined city is
both a thematic element, and also more epic than if it happened
somewhere else.
So it forms a kind
of loop: atmosphere creating more worldbuilding which creates more
atmosphere, and all of it adds a sense of time and the passing of
ages to what could otherwise be quite plain action stories about
mercenaries and barbarians. The pervasive sense of impending doom
makes the worlds richer, and therefore makes the stories resonate
more powerfully.
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