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The World as Playground

Wouldn't you love to see what's inside this place?

Wouldn’t you love to see what’s inside this place?

Just finished reading Felix Gilman’s Half-Made World (which I highly recommend; it’s like King’s The Gunslinger meets Steampunk during the American Civil War) and which got me thinking a lot about the tangible differences between fantasy and science fiction worlds. You might love them the same, but they might not both be places you would want to explore beyond the bounds of the story itself. Others, meanwhile, are places you feel like you could keep visiting forever.

In the former case, those worlds are somehow wedded to their stories and characters so inextricably, it’s hard to imagine those worlds outside the context of that story. If the characters didn’t exist, in other words, there wouldn’t be much keeping you invested in the goings on of that world. In this category I stick places like Westeros, Middle Earth, and Arrakis. Great settings, to be sure, but settings devised to support and explore the story being told there which is, as it happens, pretty much the only story in town. What would Westeros be without the contest over the Iron Throne? What on earth is there to do in Middle Earth besides fight the Great Enemy? If the Spice weren’t a big deal, do you have any other stories to play with in Arrakis?

Of course, the assessment of what gives a world a ‘life of its own’ is bigger than simply there being one story to tell. Even worlds with a lot of different things going on (the Firefly universe, for instance) need the attention to detail and the vibrancy of a well-constructed environment to make it somehow self-sustaining (which Firefly doesn’t quite have for me). The world needs a feel, a mood, a sense of possibility and a wealth of secrets ready to be unveiled. Star Wars has this, as does Star Trek, and I would say that it is that ‘something’ that gives those franchises a kind of eternal life. You can imagine yourself living there, but without needing to be aboard the Millennium Falcon or USS Enterprise to do it. Interestingly enough, Gilman’s West in Half-Made World, while really seeming to orient itself along a single story axis (the struggle between the Agents of the Gun and the Progress of the Line and those caught in-between), affords, with the creation of those two forces, a wealth and breadth of possible stories originating from various branches off that main axis. You have people who pledge themselves to the Gun but recant, you have those who fight off the Line, but still embrace its machines, you have idealistic republics and moral philosophers of every stripe that pervade the fabric of this vast society, and then, of course, there are the First Ones in the background and the simple realization that the world itself is not completely created yet.

This sprawling complexity coupled with a clear story and frequent places where one could see drama inserted and new stories born is key to making a fantasy world into a playground, a touchstone with infinite dramatic potential. All the best role-playing game settings have this, too (must have it, actually), and this places – these worlds that are fun to visit and always interesting to explore – can make for very long and successful story arcs or, if you like, RPG campaigns.

All of this, however, is not intended to denigrate those worlds that aren’t playgrounds and those worlds that are tightly wrapped around their creator’s narrative and thematic purposes. Worlds that are driven towards a single purpose, while perhaps not able to consume our daydreams, do have more narrative and allegorical power. Arrakis is a powerful metaphor for wealth, for faith, and for the greedy impulses that undermine both. Middle Earth is a story about the loss of the beautiful in the face of the practical, modern, and civilized. Arrakis and Middle Earth do this job better than worlds like Gilman’s or Roddenberry’s, because all of their narrative effort is devoted towards ‘the Cause,’ if you will. Their ‘playground’ may only have the one swing set, but it’s a damned fine one.

As I have built (and continue to build) worlds in which to set my stories and novels, I find myself teetering between these two poles – am I crafting a playground, or am I crafting a Message. The wise course is, perhaps, somewhere between the two. Inevitably, however, I find myself straying further and further towards the playground model, and keep making a place that not only suits my story, but that could suit stories far beyond those I, myself, have imagined.

Character Death Calculus

You know when you’re reading a book or watching a movie/show involving beloved characters and it’s all coming to a head and you know somebody’s probably going to die, but you aren’t sure which one? Well, I’m the guy who usually knows who it’s going to be. I’ve got a system, you see, and it’s relatively foolproof (though not perfect). Let me show you how it works:

Step 1: Who Has Plot Armor?

Can’t touch this…

Writers have characters who are essential to their story. If they kill them, they risk breaking the story or ruining the good thing they have going. These characters, if they ever die, will only die at the very end of the story arc, whenever that is, after they are no longer needed, since the story is about to end, anyway. Such characters are referred to as having ‘plot armor’ – they are, essentially, immune to death. Good authors, of course, keep you in suspense over this, anyway, but you all know, in you heart of hearts, that Luke Skywalker isn’t going to die.

These characters are usually fairly easy to spot and you can eliminate them as possible character deaths in most instances. There are, of course, exceptions to this rule, but they are rare.

Step 2: Which Characters Have Reasons to Stick Around?

Thank you both for helping the main characters develop. You may go now.

Secondary characters are usually the ones lined up for the firing squad, but not all secondary characters are created equal. Ones that have essential purposes to the conflict or plot can’t die until that duty is fulfilled. If that duty is ongoing and they cannot be replaced, they cannot die. Now, once they reach that expiration point, their purpose is fulfilled and they are immediately candidates for termination, provided a few other factors are fulfilled.

Very often, it becomes apparent that particular characters, while they had been interesting, compelling, and important to the plot, are no longer in that category. The writers have milked their usefulness to the fullest and, they discover, (as per Step 3) that the character would be more useful dead than they would alive. As soon as this happens, boom – no more character.

To take Lost as an example, Boone was handy for a little while as a protegé to Locke and as a point of conflict for Shannon, but this got stale. After that, they needed him to help the plot but didn’t want him hanging around gumming up all their scenes, so *splat* – no more Boone.

By the transitive property of Character Death, Boone’s death meant Shannon was much closer to the chopping block, since her character had one less thing to keep her around for. Oh, and thank God they killed her, too – damn, she was annoying.  

Step #3: Which Characters are More Useful Dead than Alive

Guess which guy is the guy they shoot. Go on, guess…

 Once you’ve established whom you can kill without derailing the plot, then it becomes a matter of ‘which character is better off dead’. This, ultimately, comes down to a certain degree of taste, and the best way to predict is to try and figure out what kind of story the writer is going for. The death of a beloved sidekick is a great motivator for the hero, but the death of the comic relief can take a lighthearted adventure and make it grim. The death of a beloved, comical sidekick does both things, which automatically bumps them ahead on the hit list, provided that the author needs to motivate his or her hero and wants the story to take a grim, frightening turn. Then again, there might be characters that are simply a drag on the plot and, by killing them, you kick the story out of a rut and start hurtling towards your third act.

Point in case: Joe Pesci in Goodfellas had it coming from a mile away. They needed to keep him for a while to give the movie some spice and, even, some cruel levity. However, there came a point when it simply would be too arduous to keep the character present and have Henry Hill do what he had to do. Bam! Dead Pesci. Now, granted, Goodfellas was based on a real-life story, so I doubt the *actual* mob killed the *actual* Joe Pesci character for the sake of plot development, but, then again, I don’t know if that part is factual, either.

Step #4: Which Character Will the Audience Miss the Most?

Admit it: you’re getting a little misty *right now.*

Okay, once we’ve narrowed down our list of characters to those non-essential, secondary characters whose deaths will actually help the overall plot somehow, we might still have two or three guys standing around. Who to pick? Well, the one that will hurt the worst, of course. Writers want to evoke pathos, and you don’t evoke pathos by killing Jar-Jar; nobody will care or they will be actively pleased, which is the opposite of what you want. You want tears or anger or bitter snorts and shakes of the head. You want people to feel it in their gut somehow. If you don’t, why are you killing a character at all? So, you pick your crowd favorites. You pick the nice, fat geeky kid (sorry, Piggy from Lord of the Flies) or the kindly old tutor (eat it, Dumbledore) or the positive father figure (here’s a bullet just for you, Willem DeFoe in Platoon). That way, while Charlie Sheen is weeping in the Huey on his way back to the States, the audience is weeping, too. Pathos. Catharsis. Yes.


Now, good writers wouldn’t be good writers if they weren’t inherently aware of this equation. Some of them buck the trend intentionally, killing off the characters you least expect when you least expect it (George RR Martin, looking at you), or decide they aren’t going to kill anybody at all, after all (let’s face it: Lando Calrissian dodged a bullet in Jedi, and you know it). Sometimes, breaking the equation means ‘breaking’ your story just to begin telling another one–a kind of plot calculus bait-and-switch. This is a risk, of course, and it doesn’t always pay off (looking at you again, George RR Martin), but it is bold storytelling. All that said, there is nothing wrong with the equation above, just so long as you are careful in managing the variables and keeping the audience guessing until it’s too late.