Originally published in Astounding Magazine in June of 1944 Fredric Brown’s short story “Arena” has
since become a staple of science fiction television, re-purposed -- and
sometimes without attribution -- for many diverse series.
The story has been featured on The Outer Limits as "Fun and Games," on Star
Trek (1966-1969) as "Arena," on Space: 1999 (1975 – 1977) as "The Rules of Luton," on Blake’s
7 (1978-1981) as "Duel" on Buck Rogers in the 25th Century
(1979-1981) as "Buck's Duel to the Death," and later, on Star Trek: The Next Generation (1987
– 1994) as "The Last Outpost."
Brown’s influential
story revolves around a space war between Earth Man and “intelligent spider” aliens called "Outsiders.”
During one combat engagement, a human pilot, Carson is beamed from the cockpit of his one-man “scouter,” and transported to the narrative’s titular arena: a planet of blue-colored
sand and strange, talking lizards. There, an omnipotent
alien explains to Carlson that the cosmic conflict won't be settled between the stars, but in this very ring. The
human will fight an Outsider -- a round, tentacled organism -- to the death.
Should Carson lose this brutal contest,
mankind will be wiped out of existence. Contrarily, if Carson
prevails in the match, the human race inherits the universe and the
Outsiders shall be destroyed.
In the end, Carson vanquishes his alien nemesis without any significant reservations, committing an act of violence that
is a “moral imperative” according to
the tale's author.
Written during World War II, Brown’s vignette determinedly suggested an alternative to the horrors of the times. What if a war could be settled by
two individuals -- trained warriors from each side -- rather than by the vast technological and personnel mobilization of nation-states?
Wouldn’t that solution be better, more reasonable, and a far less messy way to wage war?
Across the decades, the
“Arena” story template was been modified dramatically, and Brown’s Darwinian “survival of the fittest” message has frequently been overturned in favor of 1960s anti-war philosophy.
For instance, in Star
Trek’s famous “Arena,” adapted by Gene Coon, Captain Kirk (William
Shatner) and a Gorn commander -- like
Carson and the Outsider -- are transported to a neutral planet for one-on-one
combat, while omnipotent aliens known as Metrons wait to declare a victor,
and destroy the loser’s ship.
But in this iteration -- and unlike his literary antecedent -- Kirk defies the God-like aliens and refuses to kill his opposite number. The focus of this optimistic TV story is on not fighting in the first place, rather
than winning or losing in person-to-person combat.
Later iterations of
Brown’s outline, namely Space: 1999’s “Rules of Luton, Blake’s
7’s “Duel,” and Star Trek: The Next Generation’s
“The Last Outpost” similarly stress the “more evolved” moral ideal of resisting
an arranged fight; and of defying instead the God-like aliens who
desire “bread and circus”-styled entertainment from the warring behavior of other intelligent beings.
Instead of Brown’s
Darwinian tale of survival of the fittest, these later programs meditate on
the Sun Tzu axiom: “He will triumph who
knows when to fight and when not to fight,” and turn the god aliens -- not the war enemy -- into the real villain of the story.
But “Fun and Games,” The
Outer Limits’ memorable variation on the “Arena” template -- and the first to air on network TV -- remains determinedly different from such later re-tellings.
Specifically, “Fun
and Games” is the only version of Fredric Brown’s story (though not credited as
such by the Daystar series…) which doesn't feature an
overtly futuristic setting (like the 23rd century setting of Trek,
or the 25th century setting of the Buck Rogers’ episode
“Buck’s Duel to the Death.”)
Rather, the
story takes place in America of the 1960s.
Even more
significantly however, “Fun and Games” differentiates itself from its TV
brethren by focusing squarely on contemporary, flawed man, rather than on more
idealized, knowledgeable men of the Space Age like James Kirk, Buck Rogers or Will Riker.
Instead, Robert
Specht’s teleplay “Fun and Games,” originally called “Natural Selection,” focuses
squarely on two 20th century human outcasts, a man and a woman of
less-than-sterling character who quite unexpectedly are called upon by alien
gamesters on Andera (very nearly an anagram for the word “arena…”). Their task: to
battle primitive “Calco” aliens…with the survival of the Earth at stake.
Actually, “Fun and
Games’” primary protagonists might even be considered bad people rather than
heroes, at least in terms of the standards and traditions of the 1960s. Benson (Nick Adams) is a small-time hood and
ex-boxer with questionable ethics, while Laura Hanley (Nancy Malone) outwardly presents
the appearance of sterling character but is actually a divorcee who left her
husband because, simply, she didn’t want to be “his mother.” The Anderan Senator,
who lords over the gladiatorial games challenges Laura on her characterization
of the marital separation.
The truth is, explains the
Senator, Laura’s husband just wanted “help” and she did not want to offer it.
Benson and Laura are hardly paragons of humanity, at least by most Camelot-era ideals. And yet they are deliberately selected by the
Anderan Senator to represent us in the battle to save the Earth.
Both the questionable
natures of the protagonists and the story’s focus on the necessity of killing -- rather than avoiding the fight -- render “Fun and Games” perhaps the hardest
edge variation on Brown’s “Arena" in cult-tv history.
Yet, in keeping
squarely with Outer Limits tenets, “Fun and Games” also features a “nod to high-minded ideals,” as the
concept was described in David J. Schow’s series literary companion. Perhaps, the episode’s
narrative suggests, the trick to winning
the Anderan contest is an understanding of when to be savage and when to be
civilized.
Nick and Laura’s
opponents, the beastly Calcos, don’t have the same sense of adaptability as
their human opponents in this regard.
The male Calco kills his female partner to secure the necessary
nutrients for longer-term survival on the arena planet. An ally would have been more valuable to him.
By contrast, the
human female, Laura, comes to Nick’s aid at a crucial moment and double-teams
the last Calco, assuring human kind “the win.”
If the Calcos are a negative example for the displaced or “electroported”
humans to learn from, the Anderans are not really any better.
The Senator is a taunting, cackling master of ceremony. It is
plain that his highly-advanced people -- no matter how “peaceful” or “affluent” -- are absent human traits such as empathy or compassion. The Anderan quest for “pleasure” may control and appease their passions, but they are also
utterly without mercy, not to mention decency.
With the negative
examples of the Anderans and Calcos in mind, the high-minded moral at work in
“Fun and Games” involves balancing the ups and downs of human nature; both the
impulse to kill and the capacity
to work with others for a common goal. The episode presents an even-handed, believable
portrait of the species.
"Fun and Games" opens with images of blood sports; of a 1960s-era boxing
match and of filmic recreations of gladiatorial games in Ancient Rome,
specifically. Accompanying these visuals,
the Control Voice non-emotionally discusses our human history of competition and sport,
and how such games in the modern technological era have been “drained of all but their last few drops of
blood.”
This not entirely positive assessment of modern “fun
and games” suggests that humans -- or at
least some of us -- have lost our desire to be, well, the fittest; that such
blood sports somehow keep us “ready” or primed for those life-and-death occasions
in which we must rise to such a challenge.
Without regular contests to firm
up those ancient instincts, do humans lack the edge necessary to survive in a
hostile cosmos?
“Fun and Games” intimates that in the absence of such “authentic”
blood sports, some humans -- of a certain
stripe anyway -- seek other avenues to “survive” and confront challenges.
For Nick Adams, despite his fears and professed lack
of courage, this means that he survives as a criminal, an outlaw skirting the police and involving
himself in life-or-death scenarios, like a poker game gone wrong. He spends his life as a desperate rat in a
cage, running forever in place. But
always running, nonetheless…his instincts always heightened.
Although it has been reported “Fun and Games”
ran short in its final cut and that producer Joseph Stefano devised the notion of playing a kind of “time
loop” in the episode, rerunning the sequence of murder at Nick’s poker game in
Laura’s boarding house, the deliberate repetition of time and imagery in the
episode actually works to the narrative’s benefit in the final analysis.
The repeating footage ably suggests that Benson’s life is
already a life-and-death contest of sorts, each and every day, in every
possible moment. It’s as though he’s trapped on a treadmill, running and
re-running in place. No end. No
beginning. Just endless danger. Endless
adrenaline.
For her part, Laura has also checked out of the
socially acceptable and decorous behavior of her culture (America of the
mid-1960s). She ditched a husband and marriage that didn’t suit her, and now
lives alone. Again, this is a brand of survival of the fittest,
isn’t it?
In the battle between fighting for her needs, and for her
husband’s needs, Laura’s needs won out. She
made it so.
Not unlike Nick then, Laura
is already a fighter...at least in the contest called life. In some
ways, she is even more a dedicated, hardcore fighter than Nick. For instance, it is clear that without her
assistance, Nick would have lost the Anderan contest to the Calco. It is also clear that she uses whatever means
she can think of to persuade Nick to participate in the Anderan game.
One of the many elements of The Outer Limits I’ve
always appreciated is its realistic rather than idealized depiction of human beings. There is optimism inherent
in that view; a deep respect for human resourcefulness and tenacity. However, the series is not shy, either, about revealing
humanity at his most savage (“The Zanti Misfits”), or his most fearful (“The
Architects of Fear.”) “Fun and Games” remains a delight because it paints a balanced picture of the human
animal, simultaneously remembering the savage past and hinting at an
enlightened future.
Sometimes, mankind is willing to fight and murder, but
in the case of the Anderan bread and circuses, these acts are for a very worthy
cause: the survival of the species. Delightfully, the Control Voice’s final
meditation about “human qualities”
directing mankind to a better future in the “great darkness” of space (or the future) takes an important step
beyond “Arena’s” literary narrative.
Even if the battle for survival is at hand, we would do well to wage
that war with the best angels of our nature, “compassion” and “love.”
In some situations, murder and violence may indeed be Fredric Brown’s “moral imperative,” but we don’t have to
relish or enjoy these occasions.
(Note: A version of this essay also appeared at We Are Controlling Transmission in 2011, a blog devoted to The Outer Limits.).
(Note: A version of this essay also appeared at We Are Controlling Transmission in 2011, a blog devoted to The Outer Limits.).
I love to compare a variety of adaptations of the same source, and you've done a fantastic job of calling these sheep back to the flock. Now I have to find and watch the ones I haven't seen...I have the ST:TNG already! :D
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