Violence is ubiquitous in scifi and fantasy. The number of specfic tales that don’t include some kind of violence are few and far between. Indeed, the most attention and interest surrounding tales of the future or alternate worlds circle around the methods by which the people of that time or place fight one another. I think it’s worth asking the question why.
In the first place, we have to consider the audience. The majority of the audience in scifi and fantasy is male; men are more violent than women (if crime statistics are any indication) and have been raised in an environment where violence is romanticized. To say, however, that this is all there is to it is naive and, dare I say it, a bit sexist. Women may not commit violent crime as often, but to take up the mantra of ‘if women ran the world there would be no war’ is disingenuous towards men. I can point you towards plenty of female rulers who waged as many wars as their male counterparts (Elizabeth I, for instance, supported institutionalized piracy against the Spanish culminating in a massive naval battle; Catherine the Great didn’t conquer most of what is now modern Russia with smiles and handshakes alone). Certainly, men have been socialized for centuries to be the primary purveyors and consumers of violence, but women, I feel, have aided and abetted the process, if passively. The male/female controversy isn’t, however, my primary point here.
Albert Camus once wrote:
“The truth is that every intelligent man, as you know, dreams of being a gangster and of ruling over society by force alone. “
There is truth in this statement. The world is full of people we disagree with, often violently. We think them fools, monsters, or, most charitably, misled simpletons who ‘just don’t understand’. In our heart of hearts–our deepest, most animal self–we wish we could MAKE THEM LISTEN. Herein lies war and violence. Wouldn’t it be easier if we could bash in that jerk’s face and make him obey than take the long route round? That route involves compromise, engagement, patience, and humility. Why bother? We’re right, aren’t we? When we have cast down our enemy and toppled their proud works into the dust, we are the victor; we are admired, we are the future author of history. “Americans,” said George Patton, “hate a loser.” I don’t think Americans are necessarily alone in this.
Even more simply than this is the fact that we have desires–physical, emotional, material, etc.–and resources to supply these desires are seldom so abundant that we can have them without conflict. Wars are been fought over money, food, land, and political influence. Helen’s face launched a thousand ships; any given episode of Jerry Springer has shown us two people fighting over affection, heredity, ownership–desire, all by other names. Lao Tzu, in the Tao te Ching, advises us to practice ‘not wanting’ as a path to both spiritual and political peace and enlightenment. Simple enough, but easier said than done.
To come back to science fiction and fantasy, we must consider that the human condition is one defined by conflict. If the speculative genres exist to explore the human condition in a kind of fictional laboratory separated or made distinct from our own society, then conflict–violence–is going to be part of that discussion. I tried writing a story in college once for a writing workshop wherein the main character simply wanders off into the woods and comes to a personal epiphany with some local wood sprites. The story was fantasy in a fantastic world; my professor (one of those specfic haters) asked me ‘why not put it in the real world? Why bother with fantasy?” I rankled at the question then, but I’ve come to look at it differently now. If all I was doing in that story was exploring a young man’s understanding of his educational opportunities, then fantasy was too blunt an instrument. I was tapping in a thumb tack with a sledgehammer–no, fantasy is a bigger, heavier genre than simple literary fiction. It is for exploring those massive issues which litfic need not or does not. These large issues are things that lead us to the mighty cataclysms of our species–war, violence, murder, chaos, anarchy, deep evil, and gleaming good. If specfic errs on the side of violence, it is merely because it is doing what it should and can do better than other genres.
Of course, spaceships exploding and armies of goblins also sell books. Mustn’t forget that, either.