The Unsolid Self of Creative Works

(This column is posted at www.StevenSavage.com, Steve’s Tumblr, and Pillowfort.  Find out more at my newsletter, and all my social media at my linktr.ee)

Please note this column includes very limited, basic discussion of some spiritual beliefs. I do not go into fine details as it would distract from my core exploration and involve various interpretations over the centuries.  More may be coming.

Serdar and I often inspire blog posts for each other and today is no different. He posted on how projects don’t always end up where you expect, and it got me thinking.

Serdar notes we often view our works as having a kind of “Core,” a tangible thing that defines the work. We often discover it in the early lightning-strike of inspiration, and it guides our work. But in time, it can limit us because as we develop a story, it changes. That fear of getting away from the seed of our work, the core driving idea, often limits us.

That got me thinking about spiritual doctrines about the non-existence of the self. In Buddhism, we’ll hear of anatta, the (oft-misquoted) idea of “no-self.”  Buddha seemed disinterested in the concept of permanence or impermanence, focused more on the results of action and clinging. Taoists refer to the interaction of Vitality, Energy, and (many-faceted) Spirit from which we emerge and can refine, altering ourselves to become wise or even divine. “There’s no there there” is not an uncommon sentiment among those pondering the nature of life – and if there is anything permanent, a lot of what we identify with is impermanent.

This isn’t a sentiment everyone embraces. We want to think there’s a solid “me” there that goes on and endures. We also watch ourselves grow, age, and catapult towards inevitable death and realize that what we think of as me is mostly, if not entirely, impermanent.

I think the fear of “no solid self” is no different than the fear there’s no solidity in our creative work. We want to believe we’re real and solid – we also want to believe there’s some inviolable core to our creative work. That book we make, that comic we draw comes from us, we want it permanent – maybe permanent in a way we’re not.

But as we edit and revise, replot and reconsider, we find the book or comic or whatever is a process. It’s going to change and evolve, and we can’t fully forsee the future. That core idea is just a spark to light the fire; we don’t know what will be illuminated or how long it will burn.

Neither we nor our creative works have much of solid self. They’re processes and will never be “any one thing.”  To be creative is to face impermanence twice as much, in ourselves and in what we make.

I could probably go on to intolerable length on how to face this, and it would still end in some book recommendations you might not reach out of boredom. Something more may be coming, but let me say this in compassionate simplicity.

Impermanence can be a comfort, for we see how much we cling to and how that causes pain. If I’m not much of a tangible thing, then I neither begin nor end; I’m a process, more or less. Realizing this, I can just get over myself and get on with my creative work because that’s coming from whatever I am, permanent or not. I might as well get over myself, because it doesn’t seem very solid.

So whatever. Go on, create, do the thing you do. It’s all processes and change, so let’s see where it goes.

Steven Savage

Horrible Enough, Done Enough, Enough to Learn

(This column is posted at www.StevenSavage.com, Steve’s Tumblr, and Pillowfort.  Find out more at my newsletter, and all my social media at my linktr.ee)

We’ve all had a writing or other creative project we want to abandon. Now in some cases, it’s a good idea, but I wish to suggest you may want to finish that awful thing. There’s a value in finishing work because then you can learn from it.

When you finish something, as flawed as it may be, it is a complete product. That gives you enough information to evaluate what you did right, did wrong, and can do better. Yes, it may be terrible, but it’s a terrible that you can search for lessons.

So when you look at that crime against your art, ask how you can get it finished enough to learn from. Think of it as a Minimal Viable Product, just one where the word “Viable” is doing a lot of heavy lifting. Minimal Tolerable Product, perhaps.

Now you may find, once you complete this, it’s not as bad as you thought, then that’s great! Maybe it’s good enough to use, perhaps after a heavy edit. But what if it’s not? Well, then it’s filled with lessons to learn.

It’s hard to evaluate something unless you’ve gotten it to a complete-ish state. A completed work – flawed as it is – is at least consistent and coherent enough to tear apart. Within it, you see your mistakes, your choices, and perhaps your virtues in ways unfinished work won’t show. Sure it’s ghastly, but there’s got to be something to salvage.

In fact, by completing that creative atrocity, you might be able to break it down for parts. It can be redrawn, rewritten, or recoded. But once again, you might have to complete it to get it to that state.

So don’t throw out that crime against imagination quite yet. Ask if it’s worth completing, if only to be a warning to yourself. You might be surprised what you get out of it.

Steven Savage

It’s Not the Genre, It’s The Originality

(This column is posted at www.StevenSavage.com, Steve’s Tumblr, and Pillowfort.  Find out more at my newsletter, and all my social media at my linktr.ee)

I encountered this delightful quote from the author of cookie clicker, aka Ortiel42:

As a fan of indie games, I felt this tweet.  AAA games of guns and guys run together in my head, few of them distinct or interesting.  Much like the all-too-similar AAA action RPGS, they just seem, well, all alike.

But here’s the thing – I enjoy a good shoot-em-up.  I’ve backed Early Access games like the lovely throwback Prodeus.  I downloaded the wonderfully overdone pixelated FPS Project Warlock after seeing a review.  So I’m not biased against games with guns at all.

So why did this quote resonate with me?  I think because the FPS games I like are indie, with that punkish indie feel I treasure.  I don’t have a problem with “gun games” I have a problem when the games seem all alike, like many AAA titles.

It’s not the genre, it’s the sameness.  That’s why that single Tweet resonated with me so hard.

AAA titles can get away with the sameness.  It’s well-produced sameness, well-marketed, with a lot of cultural cachet.  People are going to buy them because everyone knows them and they know what they’re getting, even when bad. It’s much as Serdar notes – in a time of choice you go with what’s known.

AAA titles are also trapped.  Knowing they have to go broad, knowing they have to appeal to everyone, they “sand the rough edges off.”  They’re not chance-takers in many cases, and even the chance-takers risk becoming Yet Another Repeating Franchise.  Sometimes you have to play it safe.

Any game – or media – genre can be made interesting.  My game library has many a fantasy RPG and I delighted in the fantasy-isekai take of the anime The Faraway Paladin.  But these games and media are things that had an edge, a break, something unique.  Just like the razor-raw edges of punk caught the souls of people, I want something to catch me and you can’t do that with blandness.

Even when it’s a genre I actually like.

Still I agree with the original tweet that I want to see games try a lot more things.  Perhaps a skunkworks as opposed to giant years-to-deliver titles may serve companies well.  That may also serve me well in another column . . .

Steven Savage