Tag: World Fantasy 2009

I was born in 1984, and for most of my life, stories with black and white morality—in other words, stories about the struggle between good and evil, with good guys who are good and bad buys who are bad—have been considered unfashionable and out of style. This is especially true of fantasy, where grimdark has been the ascendant subgenre for basically the past two decades. The Lord of the Rings movies gave us somewhat of a respite from this, but the popularity of George R.R. Martin’s Game of Thrones seems to have turned everything darker and grittier, to the point where I just don’t enjoy reading most new fantasy anymore.

I remember going to conventions like World Fantasy 2009 and talking with other aspiring writers, most of whom could not stop gushing about this George R.R. Martin guy and how he was subverting reader expectations in new and innovative ways. So I picked up a copy of Game of Thrones, and after finishing it, I thought: “yeah, the writing was pretty good, and the story did have a lot of unexpected twists… but I hated literally every character in this book who was still alive by the end of it.”

Looking back, it seems like the greatest reader expectation that GRRM subverted was the expectation that he would finish the damned books. Then again, the books only really took off after the TV series got big, and I suspect that the real reason the TV series got so big was because of all the porn sorry, the sexposition that the writers threw in. (Sex + exposition = sexposition. Seriously, the term was coined because of Game of Thrones.)

So for at least the last three decades (Game of Thrones came out in 1996), grimdark fantasy has been in style, with its morally ambiguous characters and its gray-on-grey or gray-on-black morality. Meanwhile, stories that are unambiguously about the struggle between good and evil have been considered trite, passé, or otherwise out of style. We live in a modern, complex world, and stories with such black-and-white conflicts are far too simplistic and unsophisticated to speak to our times.

That’s a load of horse shit, and here’s why.

But first, because we live in the stupidest of all possible timelines, I need to preface this discussion by stating what should be obvious to anyone capable of free and independent thought: namely, that talking about morality in terms of “black” and “white” has not a damned thing to do with anyone’s race. Seriously. It is not racist in any way to use “black” to symbolize evil and “white” to symbolize good, and the term “black and white morality” is not an example of white supremacy or whatever. Frankly, only a racist would think that it is.

But if you’ve only recently recovered from the insane left-wing cult that dominates every aspect of our society right now, and terms like “black” and “white” still trigger you, perhaps it will help to keep these two images in the forefront of your mind as we talk about morality in terms of black and white:

Now, on to something of actual substance.

The biggest complaint against black and white morality is that it divides all of the characters into black hats and white hats. In other words, all the bad guys are unambiguously bad, and all the good guys are unambiguously good, with no room in the middle for moral ambiguity or complex ethical dilemmas. So in other words, the spectrum of morality in your story looks something like this:

Now, while that may work for a certain kind of story, I will concede that it’s usually a sign of poor writing. This is especially true of epic fantasy, where complex worldbuilding and an expansive cast of characters is typical for the genre. Black hats and white hats might work for a twenty minute episode of a classic western, but not for a multi-book epic fantasy series.

However, when black and white morality is done well, it looks a lot more like this:

Notice that every shade of gray is contained within the spectrum. Indeed, allowing for the extremes of good and evil is the only way to hit every shade of morality and have it mean anything at all.

Think of Lord of the Rings. Yes, there are purely evil characters like Sauron, and purely good characters like Gandalf, but in between those two extremes there is a lot of moral ambiguity. For example, you have Boromir, who falls to the temptation of the ring but redeems himself with his sacrifice; Gollum, who ultimately rejects the last remnants of good that is in him, but still ends up serving the good in the end; Sam, who isn’t particularly noble or heroic, but bears the ring without succumbing to its temptation because of the power of friendship; Faramir, a noble and heroic figure who nevertheless knows his own limits and recognizes that the ring will corrupt him if he takes it; etc etc. Even the hero of the story, Frodo nine-fingers, succumbs to temptation in the end, and only succeeds in his quest by a brilliant subversion of the reader’s expectations.

Now, let’s contrast (pun intended) black and white morality with gray and grey morality, which TV Tropes defines as “Two opposing sides are neither completely ‘good’ nor completely ‘evil’.” Here is what that looks like when it’s done poorly:

…and here is what that looks like when it’s done well:

Does anything about those two images stand out to you? Because the thing that stands out to me is that they look almost identical—which means, as a newbie writer, it’s much easier to get away with a badly written gray-and-grey story than a badly written black-and-white story. Little wonder that all those aspiring writers at World Fantasy 2009 were gushing about George R.R. Martin.

Of course, since there’s only so much of this morally gray soup that readers can stand, two other sub-tropes of graying morality have emerged to satisfy the readers’ unfulfilled needs: black-and-gray morality, which TV Tropes defines as “Vile villain, flawed hero,” and white-and-gray morality, where “the best is Incorruptible Pure Pureness, and the worst is an Anti-Villain.”

Representing both of those visually, here is what black-and-gray morality looks like:

…and here is what white-and-gray morality looks like.

Much more satisfying than the nihilistic, soul-sucking soup that is gray-on-grey morality, but taken individually, neither one truly represents the full spectrum of moral complexity. The only way to include every shade of gray within your story is to do black-and-white morality, and to do it well.

Also, do you notice how the gray on the right side of the black-and-gray spectrum looks a lot darker than the gray on the left side of the white-and-gray spectrum? Those are both identical shades of 50% gray, but they appear darker or lighter than they actually are, simply by association with only one of the extremes.

Likewise, even if a black-and-gray or white-and-gray story is done well, it will still feel like it’s totally black or white. And if you read a white-and-gray story for the contrast reading after a black-and-gray story, the effect will be more similar to reading a badly written black-and-white story, regardless of the quality of either one.

To get the full spectrum of morality, with all of its finer nuances and shades of gray, you must include both extremes of good and evil. Remember, here is what that looks like:

Which is why it’s a load of horse shit to say that black and white morality is “unsophisticated” or “simplistic.” Done poorly, perhaps that’s true—but you can say that of any book done poorly. Done well, though, a black-and-white tale of good and evil is more satisfying and complete than any other kind of tale is capable of being, even if done well.

“But Joe!” some of you may be saying right now. “What about blue-and-orange morality? What about that most bizarre of moral codes that is neither good nor evil, lawful nor chaotic, but bacon and necktie? What does that look like, represented visually?”

Fine. Here’s your blue-and-orange morality, which TV Tropes defines as “morality that’s bizarre, unconventional and distorted by human standards”:

And here’s a poem by ChatGPT to explain the finer nuances of it:

In bacon’s sizzling embrace, flavors shall dance and sing,
A feast for the senses, a delightful offering.
Juicy and savory, its aroma fills the air,
Blessed is the one who follows the bacon’s dare.

Yet the necktie path, with elegance and grace,
Leads one to adornment, a refined embrace.
In formal attire, he walks the path of class,
Dressed for the occasion, ready to raise a glass.

For bacon nourishes the soul, brings joy and delight,
A savory indulgence, a culinary highlight.
While the necktie adorns, a symbol of esteem,
Preparing for gatherings, where memories gleam.

So choose your path wisely, with heart and desire,
Whether blessed with bacon or dressed to inspire.
For in the journey’s choice, a tale shall unfold,
Of dinners blessed or dressed, both stories worth being told.