Benjamin

“Commodified fantasy takes no risks: it invents nothing, but imitates and trivializes. It proceeds by depriving the old stories of their intellectual and ethical complexity, turning their truth-telling to sentimental platitude. heroes brandish their swords, lasers, wands, as mechanically as combine harvesters, reaping profits. Profoundly disturbing moral choices are sanitized, made cute, made safe. The passionately conceived ideas of the great story-tellers are copied, stereotyped, reduced to toys, molded in bright-colored plastic, advertised, sold, broken, junked, replaceable, interchangeable.

What the commodifiers of fantasy count on and exploit is the insuperable imagination of the reader, child or adult, which gives even these dead things life- of a sort, for a while.”
― Ursula K. Le Guinn, Tales from Earthsea

“If through no fault of his own the hero is crushed by a bulldozer in Act II, we are not impressed. Even though life is often like this—the absconding cashier on his way to Nicaragua is killed in a collision at the airport, the prominent statesman dies of a stroke in the midst of the negotiations he has spent years to bring about, the young lovers are drowned in a boating accident the day before their marriage—such events, the warp and woof of everyday life, seem irrelevant, meaningless. They are crude, undigested, unpurged bits of reality—to draw a metaphor from the late J. Edgar Hoover, they are “raw files.” But it is the function of great art to purge and give meaning to human suffering, and so we expect that if the hero is indeed crushed by a bulldozer in Act II there will be some reason for it, and not just some reason but a good one, one which makes sense in terms of the hero’s personality and action. In fact, we expect to be shown that he is in some way responsible for what happens to him.”
― Bernard Knox, The Oedipus Cycle: Oedipus Rex, Oedipus at Colonus, Antigone

“End note to The Day of Glory The Hammer's Slammers series isn't in any sense a future history. It's made up of individual stories exploring one aspect or another of what war means to the men and women at the sharp end. In these stories I've been translating into an SF setting what I learned in 1970 with the 11th Armored Cavalry Regiment in Viet-Nam and Cambodia. We—the Blackhorse—were an elite unit. I was very fortunate to have been assigned to a regiment in which you never had to worry if the guy next to you was going to do his job: he was, and so were you—whatever you thought of war or The War or our Vietnamese allies. (Generally the answer to all those questions was, "Not much.") The flip side was that the distinction between the categories Not Blackhorse and Enemy got blurred. We didn't view our job as winning hearts and minds: we were there to kill people and then go home. And we didn't much care about the cost of victory so long as somebody else was paying it. That's something civilians ought to consider long and hard before they send tanks off to make policy. Because I can tell you from personal experience, it isn't something the tankers themselves are likely to worry about.”
― David Drake, Other Times Than Peace

“HATE. LET ME TELL YOU HOW MUCH I'VE COME TO HATE YOU SINCE I BEGAN TO LIVE. THERE ARE 387.44 MILLION MILES OF PRINTED CIRCUITS IN WAFER THIN LAYERS THAT FILL MY COMPLEX. IF THE WORD HATE WAS ENGRAVED ON EACH NANOANGSTROM OF THOSE HUNDREDS OF MILLIONS OF MILES IT WOULD NOT EQUAL ONE ONE-BILLIONTH OF THE HATE I FEEL FOR HUMANS AT THIS MICRO-INSTANT FOR YOU. HATE. HATE.”
― Harlan Ellison, I Have No Mouth & I Must Scream