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For the Love of Greyhawk: Why People Still Fight to Preserve Greyhawk
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<blockquote data-quote="Ruin Explorer" data-source="post: 8081664" data-attributes="member: 18"><p>You're doing the thing I was talking about, argument-wise, which is going from this place where you don't actually understand a thing, and then making really bold claims about it.</p><p></p><p>Obviously S&S isn't a setting. S&S <em>informs the tone</em> of a setting. And you're focusing on one aspect of S&S, just trying to boil it down, which is reductive and is stopping you from understanding, not helping you, exactly as I suggested it might a few posts back.</p><p></p><p>And it's not the same as noir. It's related to it, in a lot of ways - there's some significant crossover, but there's a ton of difference, not least that many S&S protagonists are powerful and self-propelled in a way noir protagonists nearly never are, and the stories are resolved in a very different way. In noir, it tends to be fundamentally "Forget it Jake, it's Chinatown", resolution-wise. Whereas in a lot of S&S it's more "Wow, that was some weird scary stuff, good thing I killed Mr Tentacles and stole his gold!". Even Elric seems pretty cheery compared to a lot of noir. Sometimes it's still "Forget about it, Elric..." but sometimes it's like "Whoa weird but that was awesome!" which is literally never the case in noir.</p><p></p><p>A lot of the stories aren't "small stakes" in the way noir consistently is, either. Noir's stakes are almost always deeply personal. In S&S, there stakes are often more about survival and profit, or simple survival, or even personal prestige (something largely absent from noir - instead that tends to focus on the inverse, being true to yourself when no-one will ever know about it). Sometimes in S&S, often partly by accident, the heroes do save the world, or end some tremendous evil.</p><p></p><p>Thinking about S&S in general, I'd say Andrzej Sapkowski hews closest to noir, which is why I felt like his stuff was almost a different, related genre, as I discussed earlier. Then you have Fritz Leiber who, in part because of his big-city setting, isn't a million miles away, but REH's Conan is a bit further away, and Elric is further still (and isn't typically mercenary, but is very much trying to survive). That's just one axis of relationship to a single genre, note, not some sort of summary of S&S.</p></blockquote><p></p>
[QUOTE="Ruin Explorer, post: 8081664, member: 18"] You're doing the thing I was talking about, argument-wise, which is going from this place where you don't actually understand a thing, and then making really bold claims about it. Obviously S&S isn't a setting. S&S [I]informs the tone[/I] of a setting. And you're focusing on one aspect of S&S, just trying to boil it down, which is reductive and is stopping you from understanding, not helping you, exactly as I suggested it might a few posts back. And it's not the same as noir. It's related to it, in a lot of ways - there's some significant crossover, but there's a ton of difference, not least that many S&S protagonists are powerful and self-propelled in a way noir protagonists nearly never are, and the stories are resolved in a very different way. In noir, it tends to be fundamentally "Forget it Jake, it's Chinatown", resolution-wise. Whereas in a lot of S&S it's more "Wow, that was some weird scary stuff, good thing I killed Mr Tentacles and stole his gold!". Even Elric seems pretty cheery compared to a lot of noir. Sometimes it's still "Forget about it, Elric..." but sometimes it's like "Whoa weird but that was awesome!" which is literally never the case in noir. A lot of the stories aren't "small stakes" in the way noir consistently is, either. Noir's stakes are almost always deeply personal. In S&S, there stakes are often more about survival and profit, or simple survival, or even personal prestige (something largely absent from noir - instead that tends to focus on the inverse, being true to yourself when no-one will ever know about it). Sometimes in S&S, often partly by accident, the heroes do save the world, or end some tremendous evil. Thinking about S&S in general, I'd say Andrzej Sapkowski hews closest to noir, which is why I felt like his stuff was almost a different, related genre, as I discussed earlier. Then you have Fritz Leiber who, in part because of his big-city setting, isn't a million miles away, but REH's Conan is a bit further away, and Elric is further still (and isn't typically mercenary, but is very much trying to survive). That's just one axis of relationship to a single genre, note, not some sort of summary of S&S. [/QUOTE]
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