"Antares Needs Actors" is a tribute to the classic Sword & Planet pulps, especially Edmond Hamilton's "Kaldar, World of Antares."
You can find it in Galaxy's Edge Magazine, Issue 61 a.co/d/dYjL9Eg
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ELF HARD is a Christmas story about a misfit human raised by elves. He can't do anything right. His supervisor at the toy factory hates him. Life couldn't get worse.
Without question, my favorite “Call to Adventure” trope is the guy who wants money/action, so he answers an ad promising them.
Mostly because it’s realistic, and in line with my own IRL experiences.
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Whether it was going Viking, joining Shackleton’s crew, signing up with the Rhodies, or riding for the Pony Express, men with adventuresome personalities have historically jumped at the chance to prove themselves.
This has been true even—or especially—in peaceful societies.
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America just before 9/11 (when I joined the Corps) was no different. We were a peacetime military, and just about the only reason to join was if you wanted the chance of seeing some action on a “peacekeeping” mission in a place like Kosovo or Liberia.
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Talking to another Fallujah vet last night, one of our old Platoon Corpsmen. We discussed the number of us who never fully “came home.”
High number of brothers fell into criminality, drugs, or alcoholism after we got out. A couple joined gangs.
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The flip side of that coin is the guys who deliberately sought out dangerous work. Lot of guys ended up in PMCs. A bunch more either returned to the Corps within a year or so of getting out, or joined the Army.
A common thread was deliberately seeking more time overseas.
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My take on it—which he agreed with—was that the Second Battle of Fallujah represented a concentrated dose of reality.
For months, we lived an essentially tribal life, fighting in a tightly-knit warband for territory along the Euphrates River.
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The Refusal of the Call has become such an entrenched storytelling trope that people (Hollywood writers) CANNOT imagine a hero taking action without first going through some personal wishy-wash about their feelings.
In his first appearance, Solomon Kane comes across a dying girl in the forest. Read this passage, and you’ll know all you ever need to know about him:
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The rest of the story is about Kane pursuing her killers to the ends of the earth, like the relentless personification of Justice itself.
He doesn’t hesitate, he doesn’t question himself, and he doesn’t need some extra, personal attack to push him into action.
One thing that separates modern Isekai from pulp Sword & Planet/Portal Fantasy is the heroes’ drive to escape postwar ennui.
John Carter, Michael Kane, Oscar Gordon, and John Kenton are all combat vets dissatisfied with civilian life.
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They were only ever at home in combat, among their fellow warriors. When it was over, they all returned to societies that either did not understand them or did not appreciate them.
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This is leagues different from the stereotype isekai protagonist, a NEET who dedicated his life to games, only to end up in a world where his specific (and useless) skill is in high demand.