Story vs Setting!

Something one runs into a fair bit in Internet discussions is using fictional works in compare-and-contrasts with gaming settings and setting design.  A hallmark of such discussions is a bizarre tendency of people to try to justify this element or that.  The twists and turns folks would make to concoct rationales to explain (for instance) the utterly implausible astrophysics of Joss Whedon’s Firefly setting were a wonder to behold.  For some odd reason, few of them listened to Whedon’s own explanation – “Science makes my head hurt.”

A very simple principle is at work: the goal of an author isn't to provide a RPG scenario, it's to tell a good story.
 

"So how do we load those 80 ton rocks again?"

We can all agree, I believe, that Lord of the Rings comes up more often than any other fictional work in terms of compare-and-contrast.  This always amuses me, because there's no frigging way in Hell any tabletop group would follow that script:

* Let me get this straight: you're putting together a party of nine questers upon which the fate of the world rests.  So you pick the best wizard available, check, and the best outdoorsman alive, check, and three other pretty dern good warriors, check.  And then you saddle them with four 1st level types with no skills to speak of save for eating and smoking, each of whom is as big as your average seven year old?  FAIL.

* And, being stuck with the useless little worms, you're tolerating them being in battlelines?  FAIL.

* What do you mean, you're worried about one of the high level types getting uppity and seizing the Ring if the hobbits aren't along?  (Quite leaving it unsaid that the easiest way to seize the Ring is to disembowel the Ringwearer, from behind preferably.)  And in general, we don’t want the Ringbearer – or anyone else – putting the damn thing on?  Ever?  Great.  Got some smiths there, Elrond?  Awesome.  Seal the Ring into a 2" cube of iron.  Can't be worn, can't be seen directly, less corrupting, can toss the sucker into the Sammath Naur all the same.  It's not that it'd weigh any more than Sam's collection of cook pots.  (A shade over two pounds, actually.)

* By the way, if you're going to be sneaky and create a diversion, do it from the damn start.  You never have Aragorn with the party to begin with.  You send him straight to Gondor, wearing an ersatz One Ring on his finger, and claiming to be the new Ringlord.  What, it isn't as if Sauron wasn't going to plaster Minas Tirith anyway.

* Of course, it might not get that far, because if Sauron's not a complete idiot, he doesn't have the Nazgul riding around hissing "Bagginssss ... ?" at local farmers.  He has them ramrodding every orc in the Misty Mountains to turn the Shire into a smoking desert to find that sucker, because he knows it's his point-failure source, and that's the War of the Ring right there.  (Yeah, yeah, I know.  Sauron is arrogant and all of that.  But he's not a complete idiot -- look at him using cat's paws like Angmar and misdirection like "The Necromancer."  He knows it's possible for him to lose, big.  His boss did.  HE did.  Twice, even.  Airy complacency makes no sense.)

* But if you don’t, and you follow the script somewhat, well.  At some point, the survivors of your party have two options:

    (1) “Okay, guys.  The McGuffin that the fate of the world hinges on is across the river there, with two pretty unskilled hobbits.  They’re still in line of sight of us, and we’ve got a couple boats left.  Those are the guys we need to shepherd and save. And hey, there's no opposition to fight through over there.  Let’s go.”

    (2) “Okay, guys.  There are two more hobbits out there, in the hands of a freaking company of pretty tough orcs.  Other than we’ve been traveling together for a while, we have to concede they’re not remotely important in the grand scheme of things.  And the orcs have a considerable head start on us.  (Y'know, the orcs that outnumber us about thirty to one, and whom we'd have to wax to get the hobbits back.)  But let’s go anyway.”

    You know, and I know, that not one party in twenty would go for #2.

And so on.  But JRRT wasn't concerned with the same things tabletop GMs are.  He didn't give a damn about niche protection.  He didn't give a damn that he had demi-gods and newbies in the same group.  He didn't give a damn about giving his PCs equal face time.  His bad guys and NPCs were there to further the plot, not to act logically, in their own best interests, or naturally.  His good guys didn't have a third-person omniscient perspective.  Everyone interacted with one another, spoke to one another, as he saw fit.  As a world designer, Tolkien was a derned good philologist.

The same can be said of most fictional works.  (Well, perhaps not the philology part.)  David Eddings’ Belgariad?  His parties faff around all the time, often ignoring or flouting any previous character development or their professed strategies of the previous chapter/scene, just so Eddings can get in some snappy one-liners.  Baroness Orczy wrote The Scarlet Pimpernel to a close parallel of Silver Age supers, where the good guys won with deuced good British pluck, planning and luck, and almost no one ever seriously considered slitting the bad guys' throats.  (Having read all thirteen SP books, I'm struck by the fact that Orczy played out the events that bequeathed the word "terrorist" to our language, punctuated by years of violent convulsion and warfare, without depicting a single on-screen violent death.)  Marion Zimmer Bradley only late in her career bothered much with consistency -- and only then under the heavy pressure of her vocal fanbase -- having written in a prior afterword that she was far more interested in the immediate narrative needs of her plot than in agonizing over a ride from Arilinn to Hali requiring four hours in one book and four days in another.  Examining all the ways the Potterverse makes little sense is a field of literary exegesis all its own, and the rebuttal that JK Rowling was more interested in writing entertaining children's books than in creating a milieu which would survive being picked apart of hundreds of thousands of nitpicking adults tends to fall on deaf fanfic ears.

But still, people try.  You can explain until you’re blue in the face that the approximate weight of those massive stone blocks those trebuchets were launching in Return of the King would be over ten times heavier than the heaviest projectiles ever fired out of the largest 20th century artillery ever built ... and about five hundred times heavier than the heaviest projectiles fired out of the largest trebuchets ever built on Earth.  “Peter Jackson just wanted a cool visual” doesn’t seem to penetrate.