We hear about Competitive gaming, but seriously, it’s a big thing. Kind of weird, I know.
Makes me wonder if games can be more and more designed to BE competitive. Games made literally to watch others play.
Thought-provoking, no? Any ideas, gamers out there?
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 http://www.stevensavage.com/.
Sex in many ways is like air, and not in that it’s part of life and sometimes involves wearing a mask. It’s more the fact that it’s so omnipresent that we can miss out how important it is. We think we know how important it is because we just assume we do – until we really think about it.
Sex is part of being human (it’s why you’re here to be human), so we can get used to it like we do seeing and smelling and touching. That of course means we can miss its complexities, and that means we miss it when creating our worlds. When you miss something so important in your worldbuilding, you’re far worse at it.
So even if you never delve much into sexuality in your settings and stories, it’s probably there in the background, and it might be in the foreground and you don’t know it.
So first of all, let’s get down to the nitty-gritty of sex and worldbuilding – biology.
And let’s take a look at three basic things you may face – sexual biology that is familiar, sexual biology that is similar to our world, and completely different species.
But first, let’s remember what sex is for.
The Purpose Of Sex
Sex is about information – progenitors are able to transmit information about themselves in a way that allows it to be used to create new life. In the case of humans, the DNA of the parents provides the blueprint for a new person to develop in the body of one of the partners. No matter what kind of creatures you build, sex comes down to information being used to create new life – even if in the case of simple creatures its the information being copied in simple cellular division.
Sex in many ways is like a conversation, though in the case of the aforementioned simple animals, it’s rhetorical.
So when you start thinking about the biology of sex in your setting, always remember it comes down to information. However it gets more complicated . . .
. . . really, when you think of it all life is about information. It’s locating food or holding a rally that leads a country to victory in a war. It’s about smelling out a predator or about listening for the right tone to tell you your significant other is cheesed off. Life is input and output and retention and processing of information.
In turn, we can also see how living creatures don’t really have distinct boundaries among their organs and instincts and thought processes. Someone seeking out a mate or a good meal will rally every resource they have to find it. Our desire for an adrenaline rush can make us seek out thrills skydiving – and in turn someone had to actually rally their mental abilities to invent skydiving.
Now when you add in sex, the core “conversation” of life, you can realize how complicated writing it can be. That’s the original part of life – the ability to pass itself on. It’s affected every part of our lives as humans, and ties into our familial instincts, our habits, or ability to form social relations, and even our boundaries. Sex is everywhere in its own way.
Thus, even from biological points of view, writing about sex becomes complicated because it’s at the core of a living being and because its likely to touch on far more than simple reproduction.
In the end, I find that when writing about sex and designing its point in your world it keeps coming back to these lessons:
- Living creatures propagate themselves. At the core a species is about transmission of information.
- Living creatures lack boundaries among their component biologies – which is understandable because why should they be there?
- Because of this it is likely that sex for any species you may write will go beyond the boundaries of reproduction and into all aspects of life.
- This in many ways makes sense as, again, sex is a form of communication/transmission and that is what life is about.
Now with that being said, let’s move on to the three basic kinds of sexuality you may end up designing in your worlds.
Situation Normal
First of all if you’re writing about people that are for all extents and purposes human, i may seem pretty easy to write about sex and ignore it all together. It’s just standard. It’s normal. It’s background noise, though perhaps with an uninspired soundtrack.
This is where things tend to go wrong because we don’t pay attention.
The biology of sex for humans introduces any numbers of complicators that may play into your story. Just a few examples:
- Issues of contraception.
- Issues of social diseases.
- The duration of pregnancy.
- Complications of pregnancy.
- Biological issues due to sex organs, from ovarian cysts to enlarged prostates.
- Biological transformations such as puberty and menopause.
If you’re going to do any kind of setting with regular people, the biology of sex is likely to come up, even if it’s just figuring someone hauls off and kicks another character in the junk. They may be minor, but they may be there.
In most cases, writing “humans like us” and sex really focuses not on the biology (with which we have passing familiarity) but psychology and culture. That may lull you into a false sense of security.
So when worldbuilging “normal” humans, take a moment to inventory any issues of sex that may come up. A quick list is:
- What diseases exist that are sexually transmitted or involved? This will also affect culture.
- What areas of sexual transformation are affected by the setting. In an era of malnutrition puberty and pregnancy will be aversely affected, for instance.
- What other environmental or setting factors may affect sexuality biologically. This can radically affect your setting – if a virus is causing sterility in your setting, you need to design it to explain why there is a population left in your setting.
- How do cultural and psychological and even metaphysical elements affect sexuality – attitude, access to contraception, etc. Biology is a powerful thing, but these other factors will affect it.
Even in writing a real-world setting, don’t always assume you know enough about sexual biology to write. A little research is in order if it’s remotely part of your story. Because of many issues (psychological and cultural) you may know less than you think.
Sex And The Possibly Single Almost-Human
Then you get into settings or setting elements where you have almost-humans. Your standard fantasy races, the thing-on-the-forehead-but-human-otherwise aliens, and so on. You know, the beings in the setting that are are for most intent human but a bit different.
It’s often tempting in dealing with almost-humans to do two things:
- To make their sexuality just like humans.
- To throw in a twist or something extra, but treat them just like humans.
Both approaches are a mistake. The first is to ignore all other factors that make your species different – unless you’re quite sure there aren’t any (then you may be OK). The second is to forget that small changes can have vast repercussions, especially when you deal with reproduction.
Imagine a human-like race where the gestation period was half the time, completely changing the effect it’d have on the role of women. Lower the sex drive of a species and it might limit their spread (as often seems to be a trope of fantasy dwarves thanks to Tolkein). A few minor changes to your “almost human” races and you have major repercussions to deal with.
In handling the biology of near-human species I find a good way to deal with it is to stop thinking of them as near-human and focus on them as species that has familiar elements. These familiar elements provide you a lot of useful reference points, and from there you can extrapolate on what the differences mean.
Think of it as having a known path, and that makes it easy to figure out where you deviate from it and what happens when you do. This isn’t my favorite method (see below), but is useful.
A few examples:
- Maybe you have increased fertility due to a hostile environment. In turn as a species tames its world population may be a problem quicker. There’s something to deal with in your story.
- Perhaps you do limited gestation periods. That would affect the role of women in society as they’re less limited. It also would probably increase fertility for obvious reasons.
- What if species have no case of menopause or reproductive limits in their lifespan. If couples can easily have children until death it’ll change ideal ages for marrying and conceiving.
However, remember you are creating a different species. Past a few minor changes here and there, you may really be inventing a new species. When things get different from regular humans to any degree, you’re really just designing a completely new species . . . and you might just want to start here to begin with.
Loving The Alien: The Sexual Biology of Non-Humans
And this is where it gets complicated. More complicated – creating a totally new species in your setting and dealing with their sexuality.
In designing a species from scratch, in not having a “human with funny ears” you’re going to enter into a very crazy world. Designing your own species can be tough as is, and when you get to sexuality it’s going to be a challenge because, as noted, sex is so complex and connected to other things in the case of living beings.
Just think how complex sex is for humans, biologically. Now inventory all the non-human species you know about and think about their sexual biology. Now realize you’ve got to create something like that. It’s enough to make you loose interest in sex.
Welcome to the cold shower of world building original species.
So I won’t lie, if you’re going to populate your world with definite non-humans it’s going to require some thought. There is some advice I can provide:
- Remember sex is about transmission and propagation, but it is likely to tie into other elements of any species, as noted above.
- Read up on the sexual biology of other creatures and note how they work. It’ll give you ideas, and in some cases probably horrify you beyond words.
- Determine how far you have to go. Building realistic species (or building species realistically) can be very addictive and you can go pretty far down any rabbit hole of biology, be it sex or something else.
The key to designing good sexual biology is, like many things, to know how much you have to do then take it a little farther to make sure you know enough.
I’ll just have to leave that up to you.
Sex Is Important
Hope I haven’t scared you off, but sex is a complicated issue, as we all know, however it’s incredibly important to do in your worldbuilding.
It’s why there is a population to experience it.
It’s a part of our own lives so readers will notice its absence.
It’s part of life itself.
It might just be one of your biggest challenge as a worldbuilder. But if you’re able to tackle it, you’ll be rewarded with a very believable world.
Of course once we talk biology, we have to talk about psychology, and that’s next . . .
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 http://www.stevensavage.com/.
OK gang, here’s a chance to see what it’s like to be an anime director. Which, as it’s a creative management position I always figured would be a LOT more boring and stressful anyway.
Ever thought of working in anime or animation?
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 http://www.stevensavage.com/.
Hey everyone, so what’s up here at the Sanctum!
Well, the big thing is I’ve wanted to add more ways to socialize – and try out a few ideas I had. So I’ve got the official Seventh Sanctum Tumblr – AND I created automated updates for it. Not only does it repost links to what’s at The Codex, but every day there’s a new, randomly generated story! Yep, every day you’ll have a story untouched by human hands, delivered straight to Tumblr!
I may also be adding some more things over time as I experiment, and of course reposting Sanctum related things.
I also played up our social media on the site – for instance I never really promoted our Twitter. It has a randomly generated idea every day, plus posts from here and anything I think to send down. So now I’m promoting it – join up!
I want to see if this provides some more socializing to the Sanctum before I look at other elements like a more active Facebook community or a mailing list. Yep, still working on that adding-more-social elements goal!
OK, with that done, the Writing Prompt Generator!
I haven’t done much with it recently since I’ve been pretty busy with work – and this takes a certain level of creative energy I just wasn’t feeling (sometimes it seems writing code is more workmanlike than building the data files and kind of relaxing). However the plan is still to get it working well enough and then posting it to get feedback and ideas from everyone. That’s my next goal, actually.
Meanwhile with Way With Worlds, I’m now working on a four to five part series on Worldbuilding and Sex. If you assume that’s going to be exciting, you’re probably going to be disappointed unless you really get into Worldbuilding. Then again you’re here. . .
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 http://www.stevensavage.com/.
The plays of William Shakespeare have long been the go-to source for adaptations. Some plays, like Julius Caesar, can be treated as historical drama. Others can transcend their original setting and be placed in almost any setting, with Romeo and Juliet as the exemplar. Romeo and Juliet has been adapted as written, transplanted in time as in Baz Luhrmann’s Romeo and Juliet, as an action movie with Romeo Must Die, as science fiction with Romie-0 and Julie-8, as a ballet, as a musical with West Side Story, and even animated, as in the aforementioned Romie-0 and Julie-8. This one play could sustain several months’ worth of columns here at /Lost in Translation/ on its own. If you go back to The Nature of Remakes, I brought up the idea that remakes and adaptations should bring something new to the work. Gnomeo & Juliet is not the first animated version of the play, nor is it the first musical.
What it does bring is garden gnomes.
Romeo and Juliet is one of Shakespeare’s tragedies and is typically the first that high school students run into in English classes. The play tells the story of the star-cross’d lovers whose love runs into the feud between their families. Shakespearean tragedies tend to have a body count, and Romeo and Juliet is no exception, albeit having a small number of deaths. Two notable deaths, though, are the title lovers, thus turning the play into a tragedy.
Gnomeo & Juliet, though, is a animated film meant for family viewing. Family fare of late, though, avoid death, especially of the lead characters*. Characters are allowed to be in danger, even in mortal peril, but a “happily ever after” ending is the rule, not the exception. However, older family members may be familiar with Romeo and Juliet as they watch. There are expectations. How does Gnomeo & Juliet fare?
The movie starts with one of the gnome chorus introducing the film, saying that the story has been, “one that has been told. A lot.” Right away, the movie itself is aware that /Romeo and Juliet/ is the most adapted of Shakespeare’s plays. But, the gnome continues, “We’re going to tell it again, but in a different way.” Fair notice that the movie isn’t going to be faithful. However, the gnome then starts with the prologue from the play, ending only when the stage’s trap door opens underneath. The line that got interrupted? “A pair of star-cross’d lovers take their life.”
The story takes place in the gardens of Ms Montague, who lives at 2B Verona Drive, and Mr. Capulet, of Not 2B Verona Drive. The Blues, ruled by Gnomeo’s mother Lady Bluebury, maintain Ms Montague’s garden. The Reds, bitter rivals to the Blues, are led by Lord Redbrick, Juliet’s father, and keep Mr. Capulet’s garden in top shape. Gnomeo, who is a combination of Mercutio and Romeo from the play, first appears in a lawnmower race against Tybalt. The race goes to Tybalt, who wins through a low blow. Meanwhile, Juliet is being kept safe by her father and is chafing to get off the pedestal, metaphorically and literally. With help from her confidante, a ceramic frog named Nanette, taking the role of the nurse from the play, Juliet sneaks out to recover a flower in an abandoned yard. Romeo, too, sneaks out, meaning to exact revenge on Tybalt but is distracted by a figure in the moonlight.
For a movie promising to tell the tale differently, it does follows the play. The balcony scene from Romeo and Juliet appears and, while not in the same language, it does carry the same sentiment, the pull between duty to family and desire for the young gnome. The feud escalates, leading to the smashing of Tybalt during a fight with Gnomeo and Gnomeo’s exile. It’s only when Gnomeo runs into a statue of William Shakespeare is the audience told the movie isn’t beholden to the play. Even then, the destruction of Juliet’s pedestal by the Terrafirminator while Gnomeo trying to free her was big enough for good old Bill to shout, “I told you so!”
Gnomeo & Juliet is an odd movie. It bounced from Disney to Miramax to finally Starz Entertainment before getting the green light. With music by executive producer Elton John, expectations were mixed. At the same time, the casting was both inspired and ecletic. The title characters were played by James McAvoy, a Shakespearean actor, and Emily Blunt. Maggie Smith, another Shakespearean actor, voiced Lady Bluebury, and Michael Caine provided his talents as Lord Redbrick. Patrick Stewart, also Shakespearean, played the statue of William Shakespeare. Adding to the cast, we have Jason Statham as Tybalt, Ashley Jensen as Nanette, Matt Lucas as Benny**, the counterpart to Benvolio from the play, Jim Cummings as Featherstone, a plastic flamingo, Ozzy Osbourne as Fawn, taking the role of Peter in the play, Dolly Parton as Dolly Gnome, who started the first lawnmower race, and Hulk Hogan as the Terrafirminator Announcer. Add in the gnome chorus working for Lord Redbrick and the ceramic bunnies*** helping Lady Bluebury, and the casting is impressive.
As an adaptation, Gnomeo & Juliet is a little loose with the original, though it does hit the major points of the play up to when the movie says it’s deviating. The biggest change is in tone; the original tragedy is turned into a musical comedy. Yet, there are moments when the original play shines through to add drama. The beats of Romeo and Juliet are still in the movie, and the survival of the leads does become doubtful.
Gnomeo & Juliet did well enough at the theatres that a sequel has been announced. Gnomeo & Juliet: Sherlock Gnomes will introduce the world’s greatest detecting ceramic gnome consultant to solve a mystery haunting the families.
Next week, Super Mario Bros.
* There are exceptions, but they are rare.
** Benny did indeed have a scene where “Benny and the Jets” played. The scene was related to the plot.
*** When the feud breaks out into open warfare, the bunnies paint themselves blue like the extras in Braveheart.
[Way With Worlds appears at Seventh Sanctum, MuseHack, and Ongoing Worlds]
(Compliments to my friend Scott, whose essay on adaptions and history inspired this)
Genres, as I have heard it said, are reading instructions. We have certain expectations and mental toolkits that, when we read something of a given genre, we use to make sense of them. Wether this is good or bad is perhaps up for debate, but I think the basic truth is there – if only a truth of human nature of needing expectations.
I think this is why “genre mashes” are so popular. They engage two sets of expectations and combine them together, giving us both recognizable elements as well as a rush of the unusual, of ideas colliding. It’s that sense of things being both recognizable and different, which can bring inspiration, horror, humor, and other intense reactions that we seek.
However, genres are influences in worldbuilding as well. Because we are aware of audience expectations when we build our worlds and settings, when we tell our stories and code our games, we adjust what we do. Genre is also a set of worldbuilding and writing instructions to meet expectations.
In a way this makes genre a bit insidious as it may limit us – and in some cases we just start regurgitating tropes which is not so much worldbuilding as quilting. However I’d like to address a different issue, having focused on trope-piles before.
Genres hide within genres. When you adapt a certain genre consciously or unconsciously, you might be actually adapting a genre inside it – or surrounding it. If you’re not aware of this you can quickly suffocate your own worldbuilding under the weight of the things you’ve dragged in.
Consider The Western
This concept of genres within genres came when I was contemplating the role of Westerns in the above column. As I write this in 2014 it seems Westerns are often failed or are darkly-re-envisioned but most examples I saw were a genre fusion – the Space Western.
The Space Western at this time is nearly it’s own genre. It has it’s roots in early pulp SF and is obvious in the “Wagon Train” elements of Star Trek TOS. However in the last few decades it’s become it’s own thing. Just a few examples that come to mind:
- The movie series Oblivion.
- The frontier is referenced strongly in the Buck Rogers RPG from TSR.
- Firefly and Serenity
- Cowyboy Bebop (which has several other genres grafted on)
- Wildstar (which has a gunslinger type class).
The fact we even have the term “Space Western” to throw around says that it is Indeed A Thing.
Now I’ve got nothing against that. In fact I’ve rather enjoyed many Space Westerns, especially self-aware ones. But what I want to discuss is why SF would be bonded so closely with the Western – as it reveals the dangers of genre-mapping in worldbuilding.
Westerns, simply, are about frontiers. As SF itself is essentially about frontiers in many formats (especially explorational/people on a spaceship stories) the fusion fits perfectly. In a way, Westerns and SF share a similar “inside genre” – that of “people on the edge of the known” – and thus Space Westerns make perfect sense.
However Space Western as a genre – and indeed a bit of an overused ones, and thus a good example – also shows the danger of overfocusing on genre. Consider:
Maybe your SF story has a frontier element, but Western tropes don’t fit it – but if you drag those in unawares (or figure “this just must be a space western”) then you’re affecting your worldbuilding. Your world is getting buried under tropes and ideas that have nothing to do with your own ideas – that of the Space Western. You may, in short, figure (perhaps unconciously) that “my setting is a frontier” and then suddenly you’re using a genre (Space Western) inappropriately, and dumping in elements that really don’t fit your setting.
And this is the lesson. Sometimes you don’t want a genre – you want whats inside of it. You just may get confused over certain genres.
Sometimes It’s What’s Inside That Counts
Many times we choose or are inspired by various genres and incorporate them into our world – but what we may be looking at is a genre inside the other genre. If we’re not aware of that, however, we might pile on parts of the “container” genre inappropriately:
- Maybe you want to do a story of honor and revenge. Thus you are inspired by Samurai stories – but the elements of such tales may not fit your world as it has few cultural equivalents. You wanted honor and revenge, not the cultural complexities of Japanese culture.
- Perhaps you want to do a dark mystery in your fantasy setting, and certainly film noir wizards sound cool – but grafting on classic detective elements may not work in a world where you can use necromancy and interrogate the murder suspect (and you may realize this too late into your worldbuilding). You wanted the mindbending puzzles and betrayal of mysteries, not the film noir elements.
- Perhaps you like the Man Created Monster genre and want to work that into your realistic nanotechnology story – when you realize that when you have micromachines a giant stompy bad thing is inappropriate. What you wanted is to give the threat a personality.
Thus when you choose your genre or genres of your world, you may want to ask what you’re doing and why. Is it the genre or genres that you want to write – or is there something inside it that you’re really aiming for.
Food For Thought
So when you’re deciding on your genre(s) ask yourself these questions. What are you?
- Trying to say. Do/does the genre(s) make sense to what you’re writing or are you trying to use what’s “inside” one to communicate something.
- Really writing. What is at the core of your world? Why are you dressing it up in a given genre? Is it getting buried under the associated tropes??
- Trying to communicate to the audience. Genres can provide shorthand to the audience, but is what you’re saying actually served by the genre in question?
Closing
Genres may be instructions, but they can be limits – and even traps. But sometimes genres hide in genres, so you might not know just what you’re doing and why in your worldbuilding. Self-awareness – and genre-awareness – can help you greatly.
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 http://www.stevensavage.com/.
And greetings Sanctumites! How’s it going?
So let’s get down to what’s up here . . . .
I hope you’re enjoying Ryan, our new columnist. He’s got a lot of unique viewpoints and I’m glad to add him to our group – and remember I’m always looking for more creative folks.
Way With Worlds is still churning away. I’ve got a new addition today, and then some more rewrites coming, so hang in there . . .
The Writing Prompt Generator is still on track, it just got delayed due to me getting sick. After my vacation. Really not good timing on my part. I want to add a few more roots then throw it out there for feedback. This one? It’s going to take awhile, but I like the idea of doing things together, you know?
I’m also working on new ways to deliver random too you. Now you’ve seen our Twitter, but I’m also working to plug in Tumblr and maybe a few other things. Stay tuned . . .
I’m not sure about the mailing list I discussed recently. I want to see how other social media experiments go before trying that, though I’m finding mailing lists work in other communities. Go figure – I think it’s the predominance of mobile phones where email and social media works, but message boards are a pain to use.
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 http://www.stevensavage.com/.
