And Trod Jeweled Genres ‘Neath Chuck Taylor’d Feet
So the other night a bunch of writers sat down together in a room to story edit each other's short stories. We're putting together an e-zine of speculative fiction and this was just part of the process. Before sitting down to write, I knew my fellow writers. I know, more or less, what kind of nerds they are and I expected a lot of fantasy pieces. I was right. I expected a lot of high fantasy pieces. I was also right. I decided to do a low fantasy piece, just to be different. I thought people might get a kick out of it.
Damn, I was WROOOOONG.
First, defining a few terms. I know that these are sorta in flux, but back when I paid attention to labels, High and Low Fantasy were polar opposite pieces of work. On the High end, you had your Tolkien. Good guys are good, bad guys are bad, elves aren't (apparently) magnificent bastards, dwarves like axes, etc. On the Low end you had your Howards and your Leibers. So on one hand, you had Gandalf and Hobbits. On the other, you had Conan or Fafhrd and the Gray Mouser.
I don't know when it was that I discovered the Low end of the fantasy pool, but it wouldn't surprise me if it was VERY near when I discovered Raymond Chandler and Dashiell Hammet. Tolkien is to Agatha Christie and Sir Arthur Conan Doyle what Howard is to Chandler and Hammet. The bad guys were willfully terrible human beings, the good guys were, at best, noble savages, the plot was where to steal the next thing or who to kill next, and emotional arcs sounded like a spell one of the invariably evil sorcerers would throw at Conan. It was gritty, it was often harsh, it was violent, and it was pure adventure.
Now, don't get me wrong; I love some Tolkien. Aggressively pro-Jesus, pro-Catholic, pro-Mythology, and anti-Industrialization when none of that was going to bring him widespread acclaim. I appreciate everything he did for fantasy in general and for representative storytelling in particular. And you can imagine how much I want to emulate his ability to filter everything through a mythological lens so that it feels authentic even if I'm making it up. That's strong stuff.
But until those movies came out, it never occured to me that anybody in Lord of the Rings ever got dirty. Or sweaty. Just like it never occurs to me that Achilles or Beowulf get dirty or sweaty. They just aren't that kind of story.
But Conan started his life as a backward savage, so he was never anything other than dirty and sweaty. Solomon Kane put sword to a continent of godless heathens, so I bet he sweated a lot. All of Lankmar was a cesspit figuratively and much of it literally. If Tolkien was mythology, then this is what "real life" would feel like if I were hanging out in the seedier ends of the Hyborian age. The themes and ways of Low Fantasy storytelling may not have resonated with my soul in the same way grandiose manufactured mythologies did, but they got me somewhere in the guts and balls and spoke to the same bits of me that liked tough talking but tarnished detectives and dangerous, long-legged dames.
So I decided to write one. I'd never tried short stories (as previously mentioned) nor a low fantasy, but I dove in. I let Aaron take a look at it and he gutted it like a pike. Some of my issues were short story driven and he also gave some really great suggestions that added depth and personality to the piece. But he eviscerated my Third Person Narrator. He asked me to tone down the purposefully stilted, somewhat poetic verbiage. He insisted there were too many point-of-view characters and that I was "cheating." The flowing introduction to the city that would be the home of my story (and probably others after it) was cut entirely. But I dutifully modernized my story and hoped that the reprehensible main characters doing distasteful things for profitable reasons would carry the intent through. I actually got to where I thought it was pretty good after a few dozen rewrites.
Then I brought it to the group and there was some actual hate. I come pretty close to a quote when I tell you that Thomas (in the most loving way possible) said, "If that's what you meant to do, you did it...but I HATE it."
This combined with Aaron insisting that I couldn't "write to Howard's audience" brought something home to me. If I wanted to write to Tolkien's audience, that was fair game. But the insinuation was that low fantasy lacked depth, lacked emotional resonance, and, most important in some ways, lacked an audience. I was flabbergasted. Was there truly not place in modern fantasy for prosaic adventure stories for whom the whole point was the adventure? Was there no interest in jeweled thrones being trod 'neath sandaled feet or dark gods being stabbed to death unless we knew about the protagonist's issues with his mother? Or was it merely the style that had to go? Howard and his contemporaries wrote on the cusp of when what we consider the modern novel was formalized. Could he himself, or those influenced by him, have had more influence on that if he'd stuck around? Does it even matter anymore?
In short, what would the fantasy shelves of your local bookstore look like if Two Gun Bob hadn't eaten a bullet?
I don't have an answer, but I don't believe that low fantasy, sword and sandal stuff, doesn't have an audience. I can't believe that I'm the only one exhausted by squeaky clean heroes of myth living between the ten thousand pages of the latest multi-volume, door-stopping epic. Or, worse, the jaded and "mature" reworkings of Tolkien's original pristine purpose as we grasp at the wonder he gave us while trying to also have our "adult themes." I've got one magic bullet to spend on finding out for sure.
Look out. Here comes The Saga of the Myth Reaver.
Rooty-Tooty Snark-and-Snooty
This blog post is going up a little late. The biggest reason for this is I was visiting my parents this weekend. My sister and nephews were also there. As usual, the thing that most strikes me about every visit to my parents' place, and this is only exacerbated by my sister when she's around, is the sheer omnipresence of television. Don't get me wrong, we watch some TV here at my place. Since my father-in-law came to live with us, we even have cable for the first time in five or six years. But most of the TV the wife, kiddo, and I watch is on Netflix or DVD. There are no commercials and we are only watching what we want when we want.
That's the big deal right there. Commercials are obnoxious and we aren't bombarded with random programming just because we feel the need to have the TV on. This leads to, generally, a much quieter existence at my house. Going from my place to theirs is always a jarring experience and, despite our best efforts, the wife and I can't help but ask to turn things down, or off, or just wander around looking for a room that isn't filled with television noise. Pretty much from the moment we walk through the door, we feel like this:
Another aspect of this is I forget the sheer volume of dreck that's on television when you don't filter anything. I mentioned this in a somewhat confrontational way and my sister accused me of elitism in my choices of entertainment. Oh, she didn't put it that way, but that's what she was getting at. She accused me of thinking that whatever I was watching or reading was the best thing ever and everyone should be watching or reading it.
She accused me of entertainment elitism.
The guy who can tell you what time Bruce Wayne's parents were murdered. The guy who spends way too much time reading crime and detective novels. The guy who gets most excited about e-publishing because it allows something like the old pulp magazines to happen again. The guy who argues constantly that genre fiction can still be art. I'm the guy who is elitist in my entertainment. I was flabbergasted.
But then I realized what the difference is. When it comes down to it, it isn't what you read or watch, it's how you read and watch it. If I read Dickens but shut my brain off, then I might as well be reading People magazine for all the good it's doing me. If I'm reading superhero comics and looking deep for mythic themes and the interplay of cultures and ideas in an overtly symbolic way, then I'm obviously getting a good mental workout from it.
Now, that's not to say Dickens and superhero comics are a straight apples to apples comparison. There are certainly a handful of superhero books I'd elevate to the level of literature, but they are definitely not the majority. But let's take another one of my personal loves, the cop/crime drama. HBO's The Wire is smart, complex, nuanced, and deeply introspective of the American urban mindset and landscape. It doesn't shy away from the desolation any more than it does from the glimmers of hope. In this way, The Wire is decidedly Dickensian and I'm not the only one who thinks so.
Now I have friends that have and are watching The Wire and recognize it as a high quality show but they are never, ever, ever going to make a Dickens connection there. And I have friends who have read the handful of superhero comics I'd call literature and dismissed them as just another superhero story. This isn't because they're dumb necessarily, it's because they aren't reading/watching these works in as critical (meant in the sense of being discerning) a manner as I do.
This comes to a head in the conversation with my sister because she accused me of specifically giving her a hard time about watching soap operas. Don't get me wrong, I think soap operas are generally pretty slap-dash affairs as far as writing, production, characterization, acting, and everything else goes. But what she completely refused to recall was that I'd often compared superhero comics to them. In fact, with two shifts, they're basically the same bits of fiction (including, sadly, the slap-dash feel of them). All you have to do is switch out money for super powers and sex for fights. BAM, X-Men = Guiding Light.
I could be standing inside a gold mine and, if I don't at least have a shovel with me, I'm not going to get any of its riches. That's the person who refuses to engage a fiction no matter how well crafted. I don't expect to find gold everywhere, but if I bring the right tools for the job and a little bit of brain work, I might find something redeeming buried in my own backyard. That's what happens when I bring my A game to typically-dismissed genre fiction. Most of it isn't very good, but every now and then I find absolute gems. In the meantime, I find a lot of arrowheads and buried pennies. I may be wasting most of my time panning for gold in low art but those other folks waste all of theirs if they never even try.
I maintain you can find something valuable in almost every piece of art, high or low...except, that is, for the thing that started this conversation with my sister in the first place. Pay attention to my warning, people! Reality television is a blight on the mental landscape and is actively working to make you stupider! There is nothing redeeming to be found in watching idiots go through their lives with a camera following them around so that they can become even more famous for being famous. I'm honestly not very uppity when it comes to my media consumption, but if you find yourself watching more than ten minutes of reality TV then follow these emergency steps.
- Turn off the TV immediately!
- Look yourself in the mirror and insist to yourself, "I am better than reality TV! I am smarter than reality TV! I don't need famous assholes to be entertained!"
- Repeat step 2 until you really believe it.
- Read a book. Honestly, any book will do, but for the love of all intelligence, READ!
Just those four easy steps should keep you from becoming something like this:
Jenseits-über Supercategory – An Addendum
Due to the comments on my previous post, we now have a name for my super category of super categories. I also have another example that may dwarf even Heroes for Hire.
There's only one way that such an equation can have an answer; the answer must be = AWESOME.
For those of you who don't know about Kanye West, he's simultaneously one of the most interesting and most embarrassing voices to come out of rap music in the last ten years. But all his ridiculous antics can't ultimately take away from how talented he really is as both producer and rapper. Chris Haley of Let's Be Friends Again is a fan of both comics and Kanye and, thanks to his tumblr, he discovered he wasn't alone. I even threw my hat into the ring with the help of my good friend, Brett Grimes.
Here's a sneak peek of what Brett and I put together. We hope to see it grace K+C very soon! Enjoy*!
*Those of you without enough comic nerd knowledge to get the joke say so in the comments. I can explain there.
Look! Up in the sky! It’s a genre! It’s a type! No, it’s Super-Category!
Over at Aaron Pogue's blog, he suggested that "fantasy superhero" fiction could be the next new hawtness. But then Courntey Cantrell responded with "Wait, aren't superheroes already fantasy?" And since I hadn't arrived yet, I was thus saved from my head exploding.
Upon hearing this, my first response was a spluttering "What? No! Wait, what? Hell no!" But upon reflection, Courtney and Aaron both are people deeply ignorant of comics, let alone a specific slice like superhero books, but who have proven willing to listen to me explain why comics aren't what they think they are. So once my humorous spit-take was over, I started to explain why superhero books aren't science fiction, or fantasy, or coming of age, or exploration, or any other particular category yet incorporate all those and more. Not only do they incorporate them, they tend to bunch them one on top of the next until they become a super-category that can contain any and all, often at the same time.
So Superman comes from a hyper-advanced civilization on another planet. So he's obviously science fiction. A lot of his villains are technology based or aliens and fit his supposed category. But some of them, like Silver Banshee, are magic based. She has a family curse that gives her mystical powers. So is Superman a fantasy story now? What about when he goes into the Bottle City of Kandor and has to solve a locked-door mystery? Is it a detective story or mystery now?
Spider-Man is obviously a coming-of-age story. But it's a story that involves going to other planets, hanging out with Norse gods, and a persecuted minority (mutants). So is it also sci-fi? Fantasy? Racial allegory? All of the above? None of the above?
You can do this all day. Batman is the World's Greatest Detective but hangs out on the moon with the King of Atlantis, an Amazon Princess, and two last survivors of different alien races. Nobody blinks when he's solving a murder in Gotham one issue and in the next uncovering an assassination plot in Gorilla City.
The Fantastic Four is like a family soap opera where they go to space and otherworldly dimensions all the time.
The X-Men, ostensibly the most straightforward allegory since Narnia, spent years in space having Star Wars style adventures.
All that's before you have time travel stories where our favorite heroes get transported back to the Old West, World War II, or King Arthur's Court. Do they suddenly become Westerns, war stories, or folklore?
You have at least as many superheroes with mystical origins as science fiction ones, which means that their tales get flavored with whatever their origins are. But it doesn't stop them from hanging out with one another and cross-pollinating villains, ideas, and complications. Possibly the best example of this is Heroes for Hire. This title grew out of two characters who were each created because of a particular craze in the 1970s. On the surface, these crazes could not have less to do with one another. But Marvel smashed them together anyway, and now you have one of the most enduring bromances in all of fiction. Pretty forward thinking too since they're mixed race and from totally different economic classes.
Power Man is Luke Cage, a young black man sent to prison for a crime he didn't commit. In an effort to get early parole, he subjected himself to scientific experiments that gave him super strength and steel-hard skin. He used them to break out of prison and return to his old neighborhood to solve crimes and protect the community. He's Shaft with super powers.
The man who would one day be his partner is Iron Fist. Iron Fist's real name is Danny Rand, a millionaire raised to be an immortal weapon for the celestial city of K'un L'un. He's a master of esoteric martial arts who fought and bested Shou-Lao The Undying, a dragon, in order to become a master of the dragon's chi. This chi allows him to heal, to move at superhuman speeds, and to make his fist like unto a thing of iron. He's every badly dubbed, cheesey kung fu movie you ever saw only starring a white guy.
For no apparent reason, these two guys become partners in Heroes for Hire. And, after all this time together, neither works entirely without the other one. They even made a joke once where Iron Fist's response to an unasked question was "Yes I'm the real Iron Fist, no I don't know where Power Man is right now. We're partners, not a couple."
They are a mishmash of genres the likes of which you wouldn't see until the Daughters of the Dragon were added to their cast. Yes, the Daughters of the Dragon. Misty Knight, a jive talking ex-cop with a cybernetic arm, and her master of samurai swords partner Coleen Wing. All four of them work together often, and it is glorious.
So is it a blaxploitation story? A kung fu story? Mystery? Thriller? What about when they visit K'un L'un and the other immortal weapons show up? Is it wuxia? Cybernetic arms sorta sound like science fiction, right? What about when Luke and Danny join the Avengers complete with WWII super soldier, mutant sorceress, and Norse god?
When it comes to genre and category, superhero comics have thrown so many concepts together for so long that they're essentially the literary version of a Meatloaf song; everything's louder than everything else. They are officially a super-category that can take bits from any and all other categories and mix'n'match with any other bits to make whatever they need at that moment.
That's actually one of my favorite things about comics. I'm glad Courtney gave me a reason to put a name to it. But what about you, intrepid readers? What are your favorite genre and category mash-ups? Does anything come close to the hodge podge that superhero comics are and yet still work? Tell me so I can read it!
New Review at the Consortium!
I reviewed the graphic adaptation of Richard Stark's The Hunter. Yeah, yeah, make the jokes. "It was pretty graphic to start with." No, I mean graphic as in Darwyn Cooke, the genius behind Selina's Big Score and DC: New Frontier, drew it. And it's pretty great. Go check out the longer review at the Consortium site.













