Sword
& Sorcery was founded as a development of the Adventure story,
and so one of the most salient features of the style has always been
an affinity for action, and because of the kind of writer founder
Robert E. Howard was, it has always been action of a particularly
bloody stripe. It could be said that S&S trades not just in
action, but in savagery.
Howard’s
stories were always violent, and even when there was no violence on
screen, as it were, there was a streak of violence woven into the
very fabric of the stories. Even when there is no action there will
be mention of beheadings, raids and wars, cruel justice and
treachery. There is a very casual kind of ambient violence embedded
in Howard’s work that makes them seem brutal even when there is
nothing really happening.
This
kind of thing serves a number of purposes, and it is a feature not to
be overlooked by those who are really looking to dig down on the
roots of the genre. Firstly, this creates an aura of tension and
suspense, making the world around the characters seem unfriendly and
dangerous. It also makes the world of the story seem darker and more
primitive, evoking our own more brutal past. The last thing it does
is give the reader no illusions about what kind of story and what
kind of world this is.
Howard’s
stories always featured a lot of violence, and the adaptations of his
work have mostly followed this. It is telling that when they veer
off from this ambiance of doom and death, they mostly don’t come
across very well. Sword & Sorcery really needs the promise of
brutal violence to sell the feel of the world.
Some
other writers in the genre have opted not to lean on this as heavily.
C. L. Moore was light on violence, as was Leiber. The action in
their stories more often centered on swashbuckling swordplay, as did
the lesser works of Carter and de Camp. Moorcock is one S&S
writer who traded more heavily in violence, especially in his Elric
tales.
As
S&S became less of a literary genre and more of one that expanded
into comics and games, the violence associated with it has, if
anything, increased. The best Sword & Sorcery stories seem to be
those that take the gloves off, and don’t try to play to a PG
audience. When they do, it always makes the stories seem less
visceral, less exciting, more like “standard” fantasy.
My
position is still that S&S is best when it is grim and dark, when
the characters are morally questionable and the world feels like a
dangerous and uncertain place. This is not the kind of story that
does well with Errol Flynn-styled derring-do and stories where
everyone lives at the end. The best S&S stories contain
strong elements of tragedy as well as action.
Some
have criticized the genre as one where people solve all their
problems with violence, but in the best tales this is not the case.
Violence abounds, but often the real obstacles the characters face
are not ones that can be overcome with blood and iron. In Sword &
Sorcery a hero may brandish their sword against the dooms of the
world, but they know the best they can win is a temporary victory.
S&S
fiction is the story of those victories. Action remains a necessary
feature of the genre for two reasons. The first is just that it is
fun. Well-written action is tense and exciting, it fills a tale with
vivid moments and dramatic choices. The second is because the best
stories are about the consequences and the cost of violence, in
revealing that while killing may solve one problem it creates more.
S&S heroes do not shy away from violence, and they revel in it,
in ways that may make more sensitive readers uncomfortable. But
violence is the story of the human race, and one of the great
unspoken truths of our kind is that we like violence, and we like
killing - we would not do so much of either if we did not. S&S
embraces that truth and does not judge it, one way or the other. Even if you wanted to, you
cannot take the action out, and still remain Sword & Sorcery.
No comments:
Post a Comment