Capability

Make It So: Let’s Be A Bunch Of Dicks

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Book Shelf And More

One of my most recent acquisitions is the fascinating book “Dick’s Encyclopedia of Practical Receipts and Processes or How They Did it in the 1870’s.” Its a reprint of a book that was a guide to, well, everything. Making dyes, controlling insects, creating food, various measurements and so on. It’s basically a catalog of practical knowledge from the 19th century that people would need – and in a time where you lacked easy access to specialists and stores we take for granted.

It’s out of print sadly, but you can find used copies around the internet (I got mine at Amazon), or even find it online at Archive.org.

The value isn’t just in historical curiosity, though there’s plenty here. There’s real, practical advice here for all sorts of things that you can use if you’re a DIY type, a Maker, a cook, or a Cosplayer. Admittedly there’s also stuff that can kill you if you’re not careful, but I’m going to assume you’ll be cautious if you decide to start playing with acid or something.

So yeah, go buy this book.  Try and get it reprinted.  I’m already planning to use copies as a gift.

But more than that all this, it got me thinking.  We all know that’s dangerous.

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Way With Worlds: Heroes and Villains – Self-Serving Self-Sacrifice

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desert tree barren

Sacrifice is a part of literature and part of our lives. The act of giving something up for other reasons, perhaps making the ultimate sacrifice of ones life, is part of us really. We value the act of giving things up at time because it provides surety, clarity – and a view into someone’s character.

In fact, we know it from worlds and stories all too well. It’s a common part of our heroes – but also in villains who redeem themselves or at least have some integrity

You know the drill:

  • The heroic sacrifice of some starship captain or engineer that guides their ship into a deadly run on the enemy – and may not even be saved at the last moment.
  • The person who dies for a cause, getting nothing in return.
  • The hero or heroine that trows themselves on the grenade-equivalent or detonates the bomb-equivalent by hand to save his or her buddies/country/world (pick at least one).
  • The villain, who at the last moment, realizes what a giant moral vacuum they’ve been and dies to correct it.

You can easily name at least a half-dozen other examples. It’s woven throughout literature, through film, through comics, through legend.

However there’s time the sacrifice seems . . . off.  It sets your teeth on edge for some reason. It seemed false. It seem contrived. It didn’t work for some reason.

And because it didn’t work, it bugs the hell out of you as a reader or player of the game or whatever. Something is wrong in the world.

In worldbuilding, when self-sacrifice happens, like anything else, it should have a reason. If there’s no reason for it to exist, it’s just going to come off wrong. Yet at times, it seems we shoehorn it in there, or it seems to fit yet . . . it doesn’t.

Here’s some warning signs to look out for that tell you that the brilliant self-sacrifice of your hero, or the touching sacrifice of your reformed (but now exceedingly dead) villain, aren’t.

Tropeagedddon

Sacrifice and self-sacrifice are tropes in literature and  settings, and thus done a bit too easy. We throw in something into our plots and panels and game options that “fits” as it fits what we think should fit, but it just doesn’t work in our world.

It’s ay, way too easy to throw in a scene of self-sacrifice, just as sure as it is to put an all-too-familiar action scene in a movie, or a stereotype into a story. Sacrifice is a language people understand – but like selecting the wrong word in a conversation, it doesn’t work if it’s not appropriate.

Look out for putting in acts of self-sacrifice just because “the situation calls for it” or “it fits the story” because it should fit the characters and the world.

Selfish Motives Of The Character

Self-sacrifice is an act of transcending the self for something greater- it’s about giving up literally everything one has for a reason greater than one’s own life. Now those reasons may be questionable or crazy or ephemeral, or just plain stupid (at least to the survivors), but the act of self-sacrifice is literally giving up of self.

It’s not the same as sacrificing the self for something.

However the character motivations may really turn out to be selfish. Consider other motives for self-destructive behavior:

  • In order to make someone sorry.
  • In order to become famous or remembered.
  • In order to escape a problem by appearing to “go out” in a heroic manner.
  • To fulfill fantasies of martyrdom.
  • As an act of self-hatred, essentially as suicide that doesn’t look like it.

Now these motives may indeed fit whatever character you’re creating who’s about to detonate the McGuffin Orb or whatever. If that fits, then by all means it’s consistent with your setting for them to go out. But it’s not heroic, it’s not noble – and frankly other characters will probably suspect.

Now that could be fascinating (“he saved the world, but he was also an egomaniacal jerk, how do we react”) but be careful of dressing up self-serving sacrifice as something else. It will grate horribly.

Selfish Motives of the Author

Now in no way do I want to cast aspersions on you and your world. But sometimes let’s face it, we do stuff in our stories because we like it, and sometimes that includes how we write characters, and how they die.

We can be motivated to put in an act of self-sacrifice assorted ways:

  • To just get rid of an inconvenient character. That’s coping out, and believe me, people will notice.
  • Because the character is a Mary Sue/Gary Stu/Author’s pet and we want people to love them/feel sorry for them. Usually it’s transparent enough it annoys people.
  • Because we wrote ourselves into a corner or built or world i a way we didn’t expect. Usually a big boom solves some of that, but there’s only so often you can play Crisis On Infinite Earths before you kind of strain your credibility.

When it comes to really good worldbuildng, I think we have to take pride in our crafting a good world, and learn how to make it work. Inserting our own motivations in too far, violating our own continuity, damages our settings. In the case of something as deep as self-sacrifice, it can be outright annoying.

Giving Up The Wrong Sacrifice

So, when your heroes and villains make the ultimate sacrifice, make sure it fits them, that the reasons are good, and that t fits the setting. Sure they may be wrong, stupid, suicidal, but at least portray them properly. It brings a truly visceral feel to the story and avoids cheapening your scenes.

Best of all, when you deliver a tale or a game or a world where these moments of self-sacrifice truly ft, it keeps those involved int he world, the readers and gamers, engaged. It makes the world real and organic and alive – even when characters in it are dying.

That after all is what you’re trying to do.

– Steven Savage

Steven Savage is a Geek 2.0 writer, speaker, blogger, and job coach.  He blogs on careers at http://www.musehack.com/, publishes books on career and culture at http://www.informotron.com/, and does a site of creative tools at http://www.seventhsanctum.com/. He can be reached at https://www.stevensavage.com/.

Way With Worlds: Heroes and Villains – Incompetence

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horse weird funny silly

So last time I covered the risk of creating Omnicompetent characters – those good-at-everything characters that are hard to believe. Too often we make our heroes and villains omnicompetent, and it’s a warning worth heeding. The Omnicompetent soon end up Omni-unbelievable, distorting the world and making things just seem wrong.

However, there’s a flipside issue I want to address, that of Incompetent heroes and villains. Though I find the former more common than the latter, it’s still an issue with good worldbuilding.

Ever wonder how the hell this person is going to save the world, or how this moron managed to threaten it? Is their stupidity celebrated as a kind of victory? Does the world builder seem to want you to celebrate it?

Welcome to the world of the Incompetents, the dark side to Omnicompetence

A Familiar Tale

You know the story. The hero who manages to save the day despite being stupid/ignorant/etc. The villain with . . . really nothing going for them except they are somehow a threat. Some characters are even portrayed at being so good at what they do because of their stupidity, which is not a trait you want in doctors, programmers, or scientists let alone your hero and their archnemesis.

Sometimes this is played for laughs, which is fine in a comedy – much as an Omnicompetent character can also be played for laughs. In this case it may well fit your focus.

But other times, I think you know what I mean, the characters successes are so outrageous and unbelievable that you really don’t buy them because they are explained by (and not defeated by) their own incompetence. Just as surely as an Omnicompetent character distorts a world, so does a protagonist and/or antagonist who is so dumb you’re not sure they should be allowed to drive, let alone use the Orbital Death Ray.

These sound a bit like the classic Holy Fools, but I have a better name for them . . .

Unholy Fools

In many cases, I think these characters are distorted versions of the classic Holy Fool, characters that seem weird or dumb or foolish, but there is something greater at work. Somehow they succeed despite or even because of what makes them foolish, and yet you wonder how incompetent they are. They’re paradoxes who may be straightforward.

There’s a beloved tradition of these characters. Sometimes their foolishness is a lack of the B.S. others adsorbed. Others think differently. Yet others mess with people to make a point, appearing foolish. Finally some are ambiguous, and that’s the part of the story, making you wonder.

Captain Tylor of the anime series is a great example of a modern Holy Fool, and his very ambiguity is part of the story.  Discworld has several Holy Fools who you later on find are not fools so much as some of their personality traits that seem to be flaws aren’t (not spoiling here).

The Holy Fool, frankly, is a damn hard character to create. If you’re a worldbuilder, you have to understand them inside out when the point is they’re mysterious. If you can do it right more power too you.

However, the Holy Fool sometimes seem to just be the Lucky Dumbasses who are annoying. Let’s call them Unholy Fools.

Thinking Like Children

What we often end up with in these “reverse Omnicompetents,” the Unholy Fools, are often childish characters who succeed for reasons that seem to be dumb luck or their dumbness is somehow a virtue. It’s not that they have a virtue that appears to be dumb (often a classic element of the Holy Fool or Holy semi-Fools), or that they lack a negative complicator, it’s literally they’re just stupid.

This happens in comedies, of course, but can happen in a lot of tales as well. The character who “is just doing their job” or “doesn’t know anything about that, but I know how to punch something” and so on is an Unholy Fool. They succeed supposedly as they’re not smart.

They’re not ambiguous, or differentially smart. There’s not that level of thought put to them.

I think characters like this are popular and easy to fall into as:

  1. They don’t make the readers or gamers feel inadequate.
  2. They thumb their nose at supposedly smart/talented people.
  3. They can be good for a laugh.

Of course after awhile the Unholy Fool here sort of grates on people because they are dumb, their successes aren’t believable, and . . . they don’t have reason to be the way they are. The successful idiot too easily is just another authors pet, verying on Mary Sue/Gary Stu territory.  In fact, I’d say the Unholy Fool is more likely to be a Mary Sue than many Omnicompetent characters.

An, of course, a worldbreaker.  Because, in the end, they’re just successful idiots for no reason

Did You FalL Into The Trap?

So how do you detect you’ve fallen into this trap?

Well first, as noted these Unholy Fools are worldbreakers. If you can’t explain their success, their like-ability, etc. that should set off your worldbuilding alarms. In your gut you probably know it.

Another sign is finding you didn’t think them out as well as you thought. If a character seems to coast, things seem to be “too” good for them despite their flaws, you may have fallen into this trap as well.

Finally, I think Unholy Fools are characters who in their incarnations, appeal only to a subset of people. If you notice some folks dislike a character and you don’t get why, yet others rally to defend them, that may be an indicator.

The best test simply is “can you explain why your character triumphed the way they did”in a manner that works in the world. Te audience may not know (that’s part of the fun with HolyFools) but you need to.

Comes and Goes

It’s odd writing this as I find when I first wrote Way With Worlds I didn’t see many Unholy Fools. Later I noticed quite a few of them popping up, I suspect as they can also be Mary Sues/Gary Stus and they appeal to anti-intellectualism. My guess is these kinds of characters and their appeal come and go with social tends as well.

So perhaps in another decade or two, this may get a laugh as people wonder “oh, who would write that?” But a few decades later . .. well, who knows?

– Steven Savage

Steven Savage is a Geek 2.0 writer, speaker, blogger, and job coach.  He blogs on careers at http://www.musehack.com/, publishes books on career and culture at http://www.informotron.com/, and does a site of creative tools at http://www.seventhsanctum.com/. He can be reached at https://www.stevensavage.com/.