(or "The Real World Tells Stories Too")
(And a hearty "welcome back!" to all the Joss Whedon fans who visited my blog!)
Whenever people try to describe Joss Whedon's 'Firefly' to someone who hasn't seen the series yet, the inevitable term they use is, "It's a Western in space." Which is true enough as far as it goes; any series that has an episode with the heroes smuggling cattle to another planet definitely earns the title "Western in space" pretty definitively. But when he came up with the idea for 'Firefly' and its storytelling engine (TV series are always very concerned with storytelling engines, because TV series look at 100 episodes as a minimum benchmark for success), Whedon didn't just decide to combine the tropes of the Western genre with the tropes of the science-fiction genre. He used the reality of the American frontier, rather than the fiction of the Old West, as his model to create a storytelling engine.
Noticing how involves a quick history lesson. What we think of as "the Old West", with gunslingers and bank robbers and grizzled settlers and sheriffs who were the only law in their town and madams with a heart of gold, et cetera, was a product primarily of the Civil War. There was settlement of the West prior to the Civil War, of course, but when the Confederacy collapsed, many of the former Confederate soldiers who didn't want to live under a government they'd just spent four years fighting drifted westward, where the United States' authority was minimal and they could use their military experience to make a living in a lot of not-particularly-legitimate ways. This meant living a lot rougher, but again, four years of being in a war had left them with different standards as to "civilized life" than the average person.
These semi-lawless veterans flooded into an already not particularly lawful part of the country that was still awash with gold prospectors and settlers who were also leaving the civilized parts of America for their own reasons (the Mormons also moved west into Utah during this period.) This created an unusually anti-authoritarian, sometimes violent society...one which was within the borders of the United States, and which the federal government had to tame if they wanted to truly become a continental government. (And one which, arguably, they never managed to completely conquer--many states in the western part of the US remain firmly libertarian and anti-authority, although the streak seems to have been put to positive uses for the most part.)
So this was the model that Whedon used for 'Firefly'. The conflict between the Sino-American Alliance and the "Browncoats" (and note that Whedon has always been vague about the exact causes and ideals of the Browncoats--Mal, of course, simply says they were for "freedom", but just about everyone thinks they're fighting on the right side) is an analogy for the Civil War, and Mal is one of the many disaffected veterans of that war who moves out to the frontier. The societal model for 'Firefly' feels real because it is real. It's got the kind of logic that's been tested by history. Writers should never feel afraid to borrow from history, because it's the only kind of plagarism that audiences admire. *rimshot*
Other elements of the Western in 'Firefly' are born out of economic logic. Sure, you could probably use a futuristic hover-buggy to ride around in, but if fuel is short, a horse is cheaper to feed. Laser pistols? A fancy toy for the rich, and a bullet kills just as sure as amplified and focused light. Why build tables out of wood instead of synthetics? Because it's cheap and plentiful and we've been working with it for the entire length of human history, and we know how to do it. The tropes of the Western aren't just there because Whedon thought they would look cool, they're there because they make sense within the story. (The only real "Western trope" is the idea of the Reavers as frontier savages, and Whedon deliberately subverts the idea in order to avoid the uncomfortable subtext of racism that's frequently present in Westerns.)
I've talked a lot about storytelling engines in this column (mainly because that's what it's about), but 'Firefly' does remind us that one of the quickest, easiest, most reliable storytelling engines comes from the world around us. Because the world is always full of stories, more than can ever possibly be told.
Monday, November 17, 2008
Storytelling Engines: Firefly
Posted by John Seavey at 3:38 PM
Labels: cult fiction, firefly, movies, storytelling engines, television
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Excellent analysis of one of the best shows ever to grace the small screen.
Great analysis. Also holding onto reality is the idea that the Alliance isn't so much evil - they have benevolent motivation - but as they say, the road to Hell is paved with good intentions...
Love this. Space Western although very literally a correct description, is so blunt absurd if its used to describe the show it seems either off-putting or belittles the show. Defining it as a this metaphor seems to give it the intrigue and depth that is apparent in the show.
oOO - excellent info. Clipping to reread frequently.
I believe Whedon was inspired by the book The Killer Angels, which is about the very topic you're describing.
Very well written, and thanks for the history lesson! Somehow, I never even thought why the Wild West was so wild. Dumb me. But I have an excuse - not an American :) Anyway, you just proved one more time that everything Mr Whedon and Co do, they do for a reason, and not just because something might look cool.
Natalia, as an American, I call BS on that excuse, because the rest of the world probably knows our history better than we do. Ah, disparaging the educational system which did so much good for me, it gives me a warm nougaty feeling.
My word verification was 'preve,' which is perhaps a predecessor of 'reprieve.'
Good post.. but i think Firefly deserves another post about the actual characters of the show and their ability to generate conflict.... or lack thereof when the plots are resolved
Great analysis dear!!! Have you watch this show if no then download FireFly Episodes free from hete. The special effects are seamlessly integrated and beautifully detailed. The manner in which the show was presented - the hand-held cameras, the use of zooms, and the occasional off-focus effect - was very intriguing, giving it a look of a show that was real and gritty, something that really caught your attention but didn't distract you from what was being presented. It made you feel like you were really there, like it was believable.
Very well you have written in your blog.Have you watched the Firefly Episode.This show is full of Fictional incidents and special effects.Just watch this show you will get more content to add in your blog.
As a regular reader of the Mightiest of GodKings, I finally got around to trawling through your blog archive.
I loved Firefly and Serenity but I have to ask: What of the speculation that before the vexing cancellation and the Big Damn Movie, the Reavers were supposedly going to be exposed as the dispossessed native residents of the 'Verse?
"another planet definitely earns the title 'Western in space' pretty definitively"
definitely earns it definitively?
I must confess
it's nice to see you are human enough to make mistakes.
You make so few of them that it had me wondering!
Well, on to read more of your collected posts. I think I'm approaching my tenth hour (not all at once, of course) so far -- and still champing at the bit (does that make me a "Western in cyberspace"?) for more!
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