I agree with you regarding the quality of his writing, but your generalizations regarding worldbuilding’s relationship to quality may be overbroad or overstrong. Worldbuilding is fun and interesting and I like it in my books, but lack of worldbuilding, or deep difficult holes in the world are not killing flaws. Almost nothing cannot be rescued by a sufficient quality in other areas. Consider Madeline L’Engle’s A Wrinkle in Time, Gene Wolfe’s Book of the New Sun, Stanislaw Lem’s Cyberiad.
The only one of the books you mention that I’ve read is Wrinkle in Time, so I’ll address that one. It isn’t world-driven! It’s a strongly character-driven story. The planets she invents, the species she imagines, the settings she dreams up—these do not supply the thrust of the story. The people populating the book do that, and pretty, emotionally-charged prose does most of the rest. Further, L’Engle’s worldbuilding isn’t awful, and moreover, its weaknesses aren’t distracting. It has an element of whimsy to it and it’s colored by her background values, but there’s nothing much in there that is outrageous and important and unexplained.
Eliezer’s stories, meanwhile—I’d have to dislike them even more if I were interpreting them as being character-driven. His characters tend to be ciphers with flat voices, clothed in cliché and propped up by premise. And it’s often okay to populate your stories with such characters if they aren’t the point—if the point is world or premise/conceit or plot or even just raw beautiful writing. I actually think that Eliezer’s fiction tends to be premise/conceit driven, not setting driven, but he backs up his premises with setting, and his settings do not appear to be up to the task. So to summarize:
A bad story element (such as setting, characterization, plot, or writing quality) may be forgivable, and not preclude the work it’s found in from being good, if:
The bad element is not the point of the story
The bad element isn’t indispensable to help support whatever element is the point of the story (for instance, you might get away with bad writing in a character-driven story only if you don’t depend on your character’s written voice to convey their personality)
And it is not so bad as to distract from the point of the story.
Eliezer’s subpar worldbuilding slips by according to the first criterion. I don’t think his stories are truly setting-driven. But it fails the second two. His settings are indispensably necessary to back up his premises. (“Three Worlds Collide” could not have been plausibly set during some encounter between three boats full of humans on Earth.) And—this one is a matter of taste to some extent, I’ll grant—the settings are poor enough to be distracting. (The non-consensual sex thing is just a particularly easy target. It’s hardly the only bizarre, unexplained thing he’s ever dropped in.)
I agree with you regarding the quality of his writing, but your generalizations regarding worldbuilding’s relationship to quality may be overbroad or overstrong. Worldbuilding is fun and interesting and I like it in my books, but lack of worldbuilding, or deep difficult holes in the world are not killing flaws. Almost nothing cannot be rescued by a sufficient quality in other areas. Consider Madeline L’Engle’s A Wrinkle in Time, Gene Wolfe’s Book of the New Sun, Stanislaw Lem’s Cyberiad.
The only one of the books you mention that I’ve read is Wrinkle in Time, so I’ll address that one. It isn’t world-driven! It’s a strongly character-driven story. The planets she invents, the species she imagines, the settings she dreams up—these do not supply the thrust of the story. The people populating the book do that, and pretty, emotionally-charged prose does most of the rest. Further, L’Engle’s worldbuilding isn’t awful, and moreover, its weaknesses aren’t distracting. It has an element of whimsy to it and it’s colored by her background values, but there’s nothing much in there that is outrageous and important and unexplained.
Eliezer’s stories, meanwhile—I’d have to dislike them even more if I were interpreting them as being character-driven. His characters tend to be ciphers with flat voices, clothed in cliché and propped up by premise. And it’s often okay to populate your stories with such characters if they aren’t the point—if the point is world or premise/conceit or plot or even just raw beautiful writing. I actually think that Eliezer’s fiction tends to be premise/conceit driven, not setting driven, but he backs up his premises with setting, and his settings do not appear to be up to the task. So to summarize:
A bad story element (such as setting, characterization, plot, or writing quality) may be forgivable, and not preclude the work it’s found in from being good, if:
The bad element is not the point of the story
The bad element isn’t indispensable to help support whatever element is the point of the story (for instance, you might get away with bad writing in a character-driven story only if you don’t depend on your character’s written voice to convey their personality)
And it is not so bad as to distract from the point of the story.
Eliezer’s subpar worldbuilding slips by according to the first criterion. I don’t think his stories are truly setting-driven. But it fails the second two. His settings are indispensably necessary to back up his premises. (“Three Worlds Collide” could not have been plausibly set during some encounter between three boats full of humans on Earth.) And—this one is a matter of taste to some extent, I’ll grant—the settings are poor enough to be distracting. (The non-consensual sex thing is just a particularly easy target. It’s hardly the only bizarre, unexplained thing he’s ever dropped in.)