A Tragic Brand of Storytelling

Thursday, May 14th, 2015

MMA has the character of Greek drama, Sam Harris notes:

You see these titanic egos clash, and only one survives. Many of these guys are the best fighters they’ve ever met and appear to think they’re invincible. This was especially true in the early days, when every discipline was isolated from every other, and people were just ignorant about what they were going to confront in the cage.

So you have the spectacle of two guys who can’t imagine losing thrown together, and one of them triumphs. Then you wait a few months, and this still-invincible fighter gets destroyed by the next guy. It’s a cascade of ego destruction that from a psychological point of view is pretty mesmerizing to watch.

Gottschall adds his own thoughts:

I think a lot of people assume that a fight fan is just a troglodyte who’s sitting in the stands grunting and wanting to see blood. I don’t think that’s the main allure of it. The main allure, from the fan’s point of view, is closer to what you’re saying: A really intense human drama is taking place in front of you.

There’s a whole lineage of great writers who have been fascinated by boxing especially (this was pre-MMA). They were drawn in not only by the spectacle of the fight, but by their own reaction to it.

They were thinking, “I’m Ernest Hemingway, or I’m Joyce Carol Oates, or I’m Norman Mailer. I’m one of the greatest artists in the world. I have all this empathy inside me. I have to have empathy to do my work, and yet here I am, watching two men destroy themselves for my pleasure. What’s going on here? What’s wrong with me? What’s wrong with all of us for wanting to watch this stuff?”

I think part of it is, just as you said, the appeal of tragic storytelling. So the promoters introduce you to the characters, and they usually try to build up a story of conflict between the two fighters. And then, as in almost all stories, you have a contest between the protagonist and the antagonist, depending on whom you happen to be rooting for. If your guy loses, it’s a tragedy. Even if your guy wins, it’s still a tragedy, because as you said, an ego has been more or less destroyed in the cage.

Of course, the fact that we see it that way, as a tragic brand of storytelling that produces lofty emotions in us, doesn’t necessarily justify it.

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