A Thousand Hacking at the Branches

Henry Thoreau is attributed as saying, "There are a thousand hacking at the branches of evil to one who is striking at the root." It's a quote that I've always found fascinating ever since I heard it from the lips of Captain Howdy in Dee Snider's "Strangeland". I believe the meaning is that it is better to get to the core of the evil and deal with it than waste time with minions. I prefer to twist it around in a kind of reverse. I like the idea of it being about tapping into evil rather hacking away at it to get rid of it. There are thousands brushing against what it is to be evil and amongst them is a true monster. In a recent interview to be posted next month I brought up my dislike of pathetic punk and rabble sort of evil. I have a real taste for the boogeymen the monsters fear.

Every now and again there is a story or a movie where a group of ne'er-do-wells or even outright miscreants are out doing their damage, sowing chaos, and/or generally ruining other people's lives. Then they come into a situation like so many others before, except that this time they will be the victims. There is more than one way for the worse evil to prove that it is worse. It doesn't always have to be the stock answer that they are more violent, more sadistic, or more perverted. Here is where manipulative and insidious is more fun, even if eventually it comes down to a gruesome end for the lesser evil. Another choice I find less than desirable is for the victims to be brought down by their own in-fighting. Some find great satisfaction in that, but I find it wears thin. This leads to one of the defining elements of hard-core evil.

Like anything else, it's easy to overuse it, but I find the worst evil that villains can do is bring out the evil in otherwise good people. It's nothing to make the selfish and the uncaring to commit heinous acts, but if you can make upstanding people willingly do the wrong thing, what they would never do on their own in most other situations, then you're getting somewhere, evil-wise.

There is an unasked question here. Where does the protagonist fit into this story? A lot of the time there isn't one; not in the sense of a hero. Sometimes it may be the least offensive of the victim villains. Some other good person caught in the middle and able to provide a sense of urgency or heightened tension is a good choice. Things can get complicated. That is a consideration to keep in mind. Tying back to last week, it is a more relatable, good, person that provides for a greater anchor to the horror for the audience. Finally, the three-way conflict has its own pros and cons. The dynamic is different, and it affects the warp and weft of the mood, pacing, and character requirements as much as it does the narrative fabric.

Mood: meditative.
Music: Original Sin by Meat Loaf and Instruments Of Destruction by N.R.G.

Or get MP3s.

Buy these at Amazon.com Click Images to Buy CDs

Or get MP3s.

Two Shades of Good

Conflict is not always between good and evil. Sometimes the most gripping or poignant conflict is between people who both think they are doing the right thing. Keep in mind that a lot of villains believe they are doing the right thing. Very few of them believe themselves to be evil. They get downright confrontational if anyone suggests they are doing evil. This does not include the masses of selfish users and takers who flaunt the law simply because they do not think it applies to them or plain do not care if it does, until they end up incarcerated. No, this is about the evil masterminds, when they're not delusional or caricature take over the world types, who want to mould the world into the vision they have for it. This is about the despots, the mafia don, the cult leader, and the countless others who are not introspective enough to see the harm they inflict.

To reiterate, and it may be a matter of opinion--it certainly isn't something to be overused without cause and enough originality--the most exciting conflict, with great impact and resonance is between two forces for good. Some of the excitement is in-built just because it's different. Some of it is because it's harder to decided for which side to root. There is also the matter that the cost and results are different depending on which side is victorious. The audience--been a while since it was said but the audience could be readers of your short story, novel, comic book, or role-playing game or your video, movie, TV show audience--will pick a side and a significant number of them will decry the other side as being in the wrong, if they don't go so far as to equate them with villains. This is true even if there is a three-way conflict including a definite evil person or group.

The three-way conflict gives the most flexibility in crafting a sinuous, whether that is convoluted or not, plot. The sides can play off of each other, go for outright manipulation of each other, and generally get in the way so much that not a one of them can reach their goal. The potential to derail all of their plans could lead to a disaster that none of them wants to see. This in turn will cause one or more sides to reverse course to some degree, switch sides, or pull out--this will be common among the villains who can just try again later or do without that particular victory. The dynamics of the conflict can change dramatically, turning heroes into villains, and turning expectations entirely on their head. The best thing to do in creating one of these conflicts is to make it so that there is a painful decision/aspect to one of the good sides confronting the other good side.

Mood: scrupulous.

Music: Peace Sells by Megadeth and Distant Skies by Stratovarius.

Or get MP3s.

Buy these at Amazon.com Click Images to Buy CDs

Or get MP3s.

Anatomy of a Horror Setting #2-15: In All Things Balance, Or Not

The presupposition has been put forward that in a horrific magical setting there will be a moderate to great discrepancy in the quantity of evil versus that of good. This is especially true as it pertains to non-human beings. What has not been discussed yet is a matter of balance in the quality of power between good and evil, and to a lesser degree human and non-human. In the psychic horror setting there was frequent discussion about the balance of power. The power between the two moral sides was equal for the most part--there were no non-humans, negating that issue. Balance was something considered at practically every stage due to the great flexibility of the powers. This begs the following question. Why is there no talk of balance in the magical horror setting?

Magic is essentially an unbalancing thing. This is especially true of a world where the rules of science and physics hold sway. Since magic is an external force its limitations are not all that limited in terms of what it can accomplish. The actual limitations it has tend to be in knowledge, rather than power--though need not always be. For the sake of drama and conflict there are times of greater power upon which great miracles of light or darkness can be enacted, even when power is normally an issue. These high times of magic are used more often for evil. Good and beneficial acts mostly have low power requirements, or they are geared toward undoing evil magic. The horror nature of the setting also predicates that greater amounts of good energy are required to undo evil things.

The inclusion of non-human beings in a magic horror setting also needs to be inherently unbalanced overall. For them to be less powerful than humans, in the realms of magic specifically, puts them in a role as minion. This has its place, and numbers can make up for a lack of ability. When they are more powerful, such as when they are full-fledged devils, it puts them in the role of lead threat if not actually lead villain. These powerful positions call for them to be powerful, obviously, but beyond that can even require them to be a named individual. This means they are a renowned and specific creature, at least beyond the Earth. This renown on the surface may be as little as the being’s name appearing in an earthly magical tome, or that its name is whispered among those of power.

Mood: relaxed.
Music: Trouble by Material Issue and Lightning Strikes Twice by Iron Maiden.

Buy these at Amazon.ca Click Images to Buy

Anatomy of a Horror Setting #2-14: Of Good and Evil

The last section of the previous discussion about things from beyond presupposes that the morality of otherworldly creatures is evil. This is certainly advantageous to the creation of horror, but by no means is it a necessity. Inhuman beings can be starkly good or evil, or they can be more like humans and exist within the grey areas in between to the two. Likewise, horror also can have a distinct preponderance of evil in general. This goes beyond the usual narrative conflict of person versus person, or in many of these cases, person versus the supernatural. In the magical horror setting, more so than the psychic horror setting, the question of morality applies more directly to both the schools of magic as well as to the spells and rituals themselves.

Magic can be thought of as a force of super-nature--beyond nature as we understand it. If magic is such a thing then like gravity or magnetism it is neither inherently good nor evil. In such a framework the morality of magic, and of the spells cast using it, is entirely dependent upon the intent of the being bending the force to his, her, or its will. This need not be the way that magic is approached in a horror setting though. Magic can be something integral to the force of some being’s wills, which doesn’t change its moral dependency on the user. Alternatively magic can be directly a force of evil. It may be born of evil supernatural beings, or is an expression of chaos or entropy, or it may come about because evil is a distinct commodity or force all its own.

Magic need not be a singular force either. It is entirely possible to work with a world/setting view where there are two magical energies, good and evil energies. In such a case it is even more important to consider the power of setting up kinds of resonance between the energy being used, the modes and methods of the rituals, and the emotional state and intent of those harnessing the magic. A physical component such as a ritual sacrifice is then something more than just tapping into a battery. The sacrifice now imparts its qualities to more than just the formula of the spell; it infuses the entirety of the process. This in turn affects other parts of the setting. Following the theory that like attracts like leads to a need for some kind of balance, if only for the safety of the spell caster.

Mood: heavy.
Music: Power and the Glory by Twisted Sister and Children of the Damned by Iron Maiden.

Buy these at Amazon.ca Click Images to Buy