Sword
& Sorcery means fantasy. It means abandoned ruins, ancient gods,
lost races, and, obviously, swords. But does that mean it has to
take place in a traditional fantasy world? It almost always has, but
does that mean it has to for the genre to do what it does?
After all, trappings do not make the genre, so are the trappings of
fantasy necessary?
Fantasy
is, after all, about magic – that is the defining feature of
fantasy fiction. Magic stands in for the idea of power in fantasy,
and the questions that power causes us to ask are driven by how magic
works in the story, and who has it. If magic is given randomly, then
the story becomes one about the effects of power on class and race,
on prejudice and control, and how power can be used to change the
social order.
If
magic is ubiquitous and common, then it essentially stands in for
technology, and leads to explorations about what changing technology
means for a society and the people who live in it. It asks questions
about life and death, mortality and the place of a person within the
world now that magic (technology) has changed things.
If
magic must be studied and suffered for, then the story is one of
sacrifice and the costs of power. We will see both what people will
do for power, and the effects this has on them. This kind of story
is most likely to show how the quest for power makes people change,
and what kinds of people they become after they have given so much to
get what they wanted.
These
are not the only kinds, but you get the idea. The magic in these
tales is not always the Vancian wave-wave-BOOM kind of magic, it can
mean a lot of things. It can be an inherent power to detect lies, it
can mean the magic of the True Kingship, the power to raise the dead
or control the weather. Each different power impacts its environment
differently, and allows the writer to tell different kinds of
stories.
Magic
in Sword & Sorcery is not often under the control of the
protagonist, and when it is, it is a dangerous, unreliable force that
always demands a terrible price. The wizards in Howard stories often
lounge around acting all smug and superior, but when their power
turns on them, they gibber and scream for mercy. Magic in an S&S
universe can give great power, but it requires very, very careful
handling or it will fuck you over.
So
does it even have to expressly be “magic”? Well, no, it doesn’t.
The Force, in the Star Wars universe, is actually magic,
after all. There’s no real science in the supposed “science
fiction” of lightsabers and making the Kessel Run. It’s all just
magic under another name. Star Wars is actually a high fantasy,
because it posits a universe that has declined from a former golden
age, and there is a built-in metaphysic of good versus evil. If you
took away the “Light Side” and there was just the Dark Side, then
you might be talking about an S&S universe. Magic as a
consuming, predatory power that tempts and corrupts. You could tell
stories about heroes calling on that power to try and do good, only
to inevitably fall into darkness and be destroyed. That could be
cool as hell.
You
would also need a cast of inhuman, ancient gods, and a sense of vast
antiquity that stretched far before the age of men. This would be
easy to do in an outer-space setting, and could even be done in a
post-apocalyptic world. An apocalypse would fit in well with the
cataclysmic histories of the Hyborean Age and Moorcock’s ages of
chaos, leaving a world of bizarre monsters and people struggling to
survive no matter the cost. The required moral ambiguity would
abound in a setting like that, leaving characters all in shades of
gray, with no built-in idea of good or evil.
Swords?
Do I even have to argue that point? Writers have been coming up for
excuses for swordplay since forever. Every nominal Sci-Fi franchise
from Flash Gordon to Star Wars to Dune has done it, and
it would be easy to do it no matter where you set your story.
So
while the traditional setting for Sword & Sorcery is
mist-shrouded forests and desolate ruins in the lost desert, or
jeweled cities in ancient kingdoms beside a deep blue sea, there is
no reason why it has to be that way. So long as the essential
elements of the genre are present, you can dress them up however you
want. You just need to remember what those essentials are, and I
will keep getting into that next time.
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