Eldritch Terror and the White Man’s Burden: H.P. Lovecraft’s Xenophobia

I’m a huge fan of H.P. Lovecraft’s stories. They evoke a sense of wonder, dread, and the allure of forbidden knowledge. As Neil Gaiman has stated¹, “Lovecraft built the stage on which most of the last century’s horror fiction was performed.” He draws the reader into a world of arcane mystery and nameless horror, threatening his protagonists’ sanity and indeed their very lives with a sense of addictive fascination that practically flows out of the page. Lovecraft’s method of “describing the indescribable” with florid and evocative language has all but made him a genre unto himself.

However, he was also a racist imperialist whose protagonists share those biases in spades.

While that never stopped me enjoying his stories, it is sometimes off-putting and makes much of his stuff difficult to read. It is tempting to contextualize this to the period he was writing (where such attitudes were expressed openly), but Lovecraft’s social and racial elitism was considered beyond the pale even for his times; though the tone of his arguments on this topic became more general over the years, they did not appear to change with the times. His correspondence (much of which has been collected and published by S. T. Joshi) bears this out.

But as I’ve re-read his stories over the years, something has dawned on me: the often wholesale embrace of “the white man’s burden” is not only a central metaphor in Lovecraft’s work, it often deepens the isolation of his characters and heightens their peril.

TW: Racist and imperialist language and themes, as well as ableist language and themes, after the jump.

Discriminating against the Body Electric: Fallout’s Synths as a Metaphor for Institutionalized Racism

I’ve been a huge Fallout fan for almost two decades now, reveling not only in its lore and gameplay but also its humorous yet (usually) thoughtful treatment of social issues. The post-apocalyptic genre lends itself to this in a unique way. By incorporating sci-fi and fantasy elements, these stories can deal with fairly abstract concepts. By grounding their narratives in a world steeped in dirt, decay, and the conflict between the social contract and raw survival, the best examples of the genre are often able to address these issues in an accessible (and fun) manner.

If you’ve somehow managed to avoid playing/watching/reading about Fallout 4, here’s a bit of background before we dive in. Set in the post-apocalyptic ruins of Boston in the year 2287, the story of Fallout 4 revolves heavily around synths. Synths are synthetic people, made from human DNA, indistinguishable from humans, and created to serve as a labor class for the manipulative and technologically advanced Institute. They are inspired by, if not directly based on, Blade Runner’s replicants. In one way or another, all the major factions involved in the game’s central plot have an interest in what the synths represent and what is to become of them.

A generation 3 synth in production

On the surface, the parallels to western slavery are pretty clear. The synths are a race of people viewed as “human-like” by their masters and used as free labor to maintain the status quo for a leisure class. They are given virtually no rights and are seen as little more than machines. While their masters take pains to prevent them from being killed or seriously harmed, this is mostly due to the expense involved in replacing them rather than any real concern for their well-being. There is also an underground group seeking to liberate them. This group calls itself the Railroad and is a direct reference to the real-life Underground Railroad, being referred to as such even within the world of the game.

The idea that synths are meant to represent slavery as a human institution was clear to me from the get-go. But in addition to this central metaphor, the treatment of synths and their place in the game’s civilization goes much deeper. There are parallels to infamous examples of racial and cultural discrimination throughout human history, as well as constant remarks by NPCs that the synths are infiltrating their communities and plotting terrible things. Fear that a synth might be living next door, might kill you in your sleep, and might poison the town’s drinking water is a near constant. While some of this is certainly due to the shadowy operations of their human masters, the synth race has become synonymous with deceit, violence, and threats to civilization itself. Sound familiar? This demonization and scapegoating of an entire class of people is common to most examples of real-life discrimination, and synths are a consistent metaphor for that in Fallout 4.