For an after-the-fact rationalization, that’s actually not bad. On the other hand, I think Martin might actually push it a little too far; reality isn’t as pretty as most fiction writers make it out to be, true, but it isn’t actively out to get you, either. The universe is just neutral. While it doesn’t prevent people from suffering or dying, neither does it go out of its way to make sure they do. In ASoIaF, on the other hand, it’s as though events are conspiring to screw everyone over, almost as if Martin is trying to show that he isn’t like those other writers who are too “soft” on their characters. In doing so, however, I feel he fell into the opposite trap: that of making his world too hostile. Everything went wrong for the characters, which broke my suspension of disbelief every bit as badly as it would have if everything had gone right.
For me, it’s not just a problem of suspension of disbelief, it’s a problem of destroying involvement in the story. If too much bad happens to the characters, I’m less likely to be emotionally invested in them. Martin’s “The Princess and the Queen” (a prequel to ASoIaF) in Dangerous Women is especially awful that way, through the characters aren’t developed very much, either. I’m hoping he does a better job in the main series.
His reputation as a “bloody minded bastard” aside, Martin has creznaragyl xvyyrq bss n tenaq gbgny bs bar CBI punenpgre va gur ebhtuyl svir gubhfnaq phzhyngvir cntrf bs gur NFbVnS frevrf fb sne (abg pbhagvat cebybthr/rcvybthr punenpgref, jubz ab bar rkcrpgf gb fheivir sbe zber guna bar puncgre). Gur raqvat bs gur zbfg erprag obbx yrnirf bar CBI punenpgre’f sngr hapyrne, ohg gur infg znwbevgl bs gur snaqbz rkcrpgf uvz gb or onpx va fbzr sbez be nabgure. (Aba-CBI graq gb qebc yvxr syvrf, ohg gur nhqvrapr vf yrff nggnpurq gb gurz.)
For an after-the-fact rationalization, that’s actually not bad. On the other hand, I think Martin might actually push it a little too far; reality isn’t as pretty as most fiction writers make it out to be, true, but it isn’t actively out to get you, either. The universe is just neutral. While it doesn’t prevent people from suffering or dying, neither does it go out of its way to make sure they do. In ASoIaF, on the other hand, it’s as though events are conspiring to screw everyone over, almost as if Martin is trying to show that he isn’t like those other writers who are too “soft” on their characters. In doing so, however, I feel he fell into the opposite trap: that of making his world too hostile. Everything went wrong for the characters, which broke my suspension of disbelief every bit as badly as it would have if everything had gone right.
For me, it’s not just a problem of suspension of disbelief, it’s a problem of destroying involvement in the story. If too much bad happens to the characters, I’m less likely to be emotionally invested in them. Martin’s “The Princess and the Queen” (a prequel to ASoIaF) in Dangerous Women is especially awful that way, through the characters aren’t developed very much, either. I’m hoping he does a better job in the main series.
His reputation as a “bloody minded bastard” aside, Martin has creznaragyl xvyyrq bss n tenaq gbgny bs bar CBI punenpgre va gur ebhtuyl svir gubhfnaq phzhyngvir cntrf bs gur NFbVnS frevrf fb sne (abg pbhagvat cebybthr/rcvybthr punenpgref, jubz ab bar rkcrpgf gb fheivir sbe zber guna bar puncgre). Gur raqvat bs gur zbfg erprag obbx yrnirf bar CBI punenpgre’f sngr hapyrne, ohg gur infg znwbevgl bs gur snaqbz rkcrpgf uvz gb or onpx va fbzr sbez be nabgure. (Aba-CBI graq gb qebc yvxr syvrf, ohg gur nhqvrapr vf yrff nggnpurq gb gurz.)