Opening Up the Western
How Red Dead Redemption 2 Freed the “Western” from the Grip of Traditional American Values; or how RDR2 Made the Cowboy Sexy
I joked in an old post that Arthur Morgan is the first cowboy to appeal to a more modern audience -- ‘modern’ meaning a diverse demographic no longer confined to the cis white straight man. I’m not surprised that, for a blog of my size, that is one of my more popular posts and met with no contention. So many fans of Red Dead 2 are not only newcomers to the series but to the genre of the Western itself, many of whom had never touched a Western film or story simply because of its associations with American chauvinism and colonial settler violence. So, how is Arthur Morgan so universally appealing? What does he bring that so many anti-Westerns, a subgenre of films that critique the defining tropes of the Western, haven’t done before him?
Well, let’s talk about it.
Here we are, how Arthur Morgan rescued the genre of the Western and made it way, way more palatable.
[Disclaimer: I will be using GIFs freely searchable via the ‘gif’ function of the textpost. I will also credit images if necessary. Uncredited images mean they were my screengrabs. ]
Read below the cut for the full essay! (BEWARE OF SPOILERS!)
The Gun-Slinging Hero
In a lot of ways, Arthur Morgan is a familiar hero. The Western isn’t necessarily a story about cowboys. It is, however, necessarily a story of the gunslinger. Whether he be a sheriff, a Robin Hood-esque outlaw, or a cowboy, he is nevertheless a skilled shootist, often working alone, and pitted against unequivocally bad guys. The anti-Western (a subgrenre of classic hollywood films which emerge earliest in the 60s) somewhat turn this trope of the unfailingly good gunslinger on its head by instead critiquing this lone figure as troubled, haunted by a past, and unable to survive in a society structured by morals and laws. In short, the Western does not question the gunslinger’s ability to leave behind a trail of bodies. I would go so far as to say that the Western refuses to look at this trail of bodies. The anti-Western, however, will constantly remind the hero of their body count as one of the many flaws which make them tragic.
Clint Eastwood as Will Munny in the anti-Western, Unforgiven (1992). Will Munny is a reformed outlaw and widower who is trying to make ends meet as a hog farmer. A cowboy, fascinated by stories of his past, asks him to join him on the hunt for a $1000 bounty, to which Will responds, ‘I ain’t like that anymore, kid.’
In this regard, Arthur Morgan isn’t all that far-off from a very familiar figure in cinematic history. He is a skilled gunslinger with a body count. He lets everyone know he’s a bad person and frequently contemplates the sins of his past. Yet, he differs in drastically different ways too. To begin with, this haunted gunslinger trope is often running away not just from his past but from the death of, typically, a family member, especially a wife or a lover. Due to the death of this loved one, the anti-Western hero is emotionally closed off and melancholy in disposition. Clint Eastwood is famous for portraying this type of cowboy, whose film posters and iconic performances center on the grimacing cowboy unfazed by the monstrosities committed by himself and others.
In the Revenant (2015), frontiersman Hugh Glass is haunted by his dead wife and son, who are members of the Pawnee tribe. Note that the trope of the tortured widower is condensed with surreal representations of colonial settler violence, thereby mixing the personal tragedy of losing family with the more historical problem of genocide and Western expansion.
The framing of Arthur Morgan, strangely enough, both embraces and rejects this trope. As we play Red Dead Redemption 2, we learn that Arthur has an unrequited love with the widow Mary Linton, whom he almost married once but ultimately let go, despite his persisting feelings for her, out of fear for her safety and wellbeing. Thus, Mary Linton is spared becoming the collateral for Arthur’s moral reformation. She lives, and her rejection of his lifestyle is all the reminder he needs that he hasn’t done good things in his life.
On the other hand, we have the deaths of Eliza and Isaac. I know this is going to be controversial (considering the ambiguity of Eliza’s relationship with Arthur and how the fandom likes to interpret her as a ‘dead wife’ figure for Arthur). It’s worth noting that, in his conversation with Rains Fall and Sister Calderón, Arthur doesn’t really think of Eliza as a wife he lost (he only regrets letting go of Mary aka ‘a woman who loved me’). They very explicitly never married, as he didn’t want to make promises he couldn’t keep (a paraphrase of his own words), but he otherwise thought of her as ‘a good kid,’ having only been 19 years old when she became pregnant with their son. By all accounts, I think the real tragedy and ghost of Arthur’s past is Isaac himself, with Eliza being somewhat of a friend or co-parent whose death he also regrets.
Yet is exactly on this point that Arthur differs. The deaths of his son and co-parent have done nothing to his otherwise happy-go-lucky attitude, or the excitement he feels when robbing a train [credit to @f--hawk for finding out via mods that he smirks beneath the bandana during the train robbery mission cutscene]. Neither do these deaths motivate him to leave the outlaw lifestyle, as it did for aforementioned character Will Munny in the film Unforgiven. Whatever moral reformation Arthur experiences as a result of this trauma does not manifest outwardly, but it doesn’t stop him from living his life either. As such, Arthur Morgan occupies this liminal space between the Western hero and the Anti-Western hero, neither heroic nor fallen; not widowed but still grieving; cognizant of the weight of his actions yet constantly living in the present.
This in-between-ness actually makes a good beginning for a video game protagonist, as it’s precisely this ambiguity that gives the player freedom to decide how Arthur develops. In this sense, Arthur is already more accessible than his cinematic predecessors. Loss is a memory, not an anchor, and players are free to contemplate how his actions will affect him rather than a predetermined path. (Though there’s an argument to be made that the game definitely wants players to choose the path of redemption for Arthur).
In a lot of ways, the writing of Arthur Morgan as a character is a wholesale rejection of the emotionally closed-off, brooding, and fallen hero archetype that so frequently graces the Western genre. As one of the characters mention, Arthur is always smiling. He is prone to self-deprecating humor and lighthearted banter. His responses to shit going down are the type of lines you’d normally hear from the mouth of a comic side relief in films [for instance, his sarcastic remark after trying to escape the trolley, ‘Does this trolley go to Tahiti?’ is an example of his surprisingly bombastic and humorous disposition].
More importantly, he laughs -- heartily and frequently. Clint Eastwood might smirk. John Wayne might flash a smug grin. But Arthur Morgan smiles with his whole heart and inflects every chortle with emotion. Just hear this bellowing laughter of his when he wins 36 cents in a game of blackjack.
Below, you’ll find a clip of Arthur being a vocal supporter of the theatrical arts:
In short, Arthur isn’t defined by his pain, neither does the narrative of Red Dead flaunt the sins of his past constantly through dialogue and imagery. There’s a purpose behind all this, of course. It makes Arthur’s willingness to help out complete strangers, even at his own expense, more plausible due to his easygoing and helpful nature. If, as sister Calderon says, helping people makes him smile, then it’s more believable for us as the audience and the player to see Arthur Morgan as a complicated individual whose cheerful disposition adds nuance to a tried-and-tested cinematic archetype.
Romancing the Cowboy
Okay, so far Arthur Morgan is unconventional, for sure, but how is he more appealing to a 21st-century audience? There are signposts throughout the game and Arthur’s writing which suggest that the writers behind Red Dead 2 wanted to appeal to a broader audience than the traditional consumers of Westerns. In other words, the presence of certain tropes and imagery show that the developers were trying to appeal to so many more people than just the cis white man. Given how handsome Arthur is, women for sure is one of those newer groups brought into the Western fold. [Note, by ‘women’ I don’t just mean cis straight women either. I would further argue that Arthur has a universal charm that members of the LGBTQA community and people of color can rally behind, being a bisexual woman of color myself]
To open up the Western and reimagine the broody gunslinger, Red Dead 2 introduces two genres into the series, which shape Arthur as a heartthrob and alluringly sensitive soul: the Medieval Romance and Romanticism.
The Medieval Romance
The medieval romance is an old and varied genre that is difficult to pinpoint. Not to mention, the genre changes depending on the region and language we’re focusing on. For our purposes, the medieval romance is a type of fictional narrative. Structurally, these narratives are episodic and prominently feature chivalry/chivalric duty, knights, adventure, and courtly love. Many might be familiar with King Arthur and the Knights of the Round Table, aka the Arthurian legend. In the romance version of this myth (i.e. not the Welsh folklore but the English textual co-optation of the legend), the knights of the round table often go off in their own tales of adventure, with each tale serving as an episode that takes the heroes to different locations and challenges.
Is this beginning to sound familiar? Red Dead Redemption ostensibly follows this bare bones structure of the medieval romance. There is a core group with a sovereign leader (Dutch, in this case) surrounded by his loyal outlaws who all abide by a code. Remember, chivalry isn’t just some outdated way to talk about being nice and courteous to women. Chivalry also represents the codes of loyalty a knight upholds as a representative and champion of his liege lord. Thus, it is very fitting for us to think of the Van Der Linde gang as a group of knights abiding by a certain code that, while not explicitly defined, hinges on loyalty and a sense of honor (or in their case, honor among thieves). In fact, even the camp life is reminiscent of courtly life, with fêtes, singing, and their own micropolitical squabbles. Another facet of chivalry is how a knight treats with noblewomen and ladies. A chivalrous knight is always ready to be at the call of his lady, coming to her rescue or championing her in tournaments. The romantic tropes that come from this gendered dynamic survives today as the knight-like readiness of Arthur to help women and always treat them with utmost respect -- something that not every man in the camp actually do *cough Micah and Duch cough*
More to the point (in terms of how this makes Arthur sexy), the medieval romance is most famous for portraying courtly love. Courtly love too is a vague term, but you can readily identify it as often a star-crossed romance between a lady and a knight. Often there is something preventing them from coming together, whether it be class difference (for instance, a Queen and her knight, like Guinevere and Lancelot) or war keeping the lovers away from each other. Courtly love is depicted in art as elevated, not merely a carnal or romantic arrangement. Court lovers are often depicted exchanging letters, or often a knight will perform life-threatening/valiant feats in order to prove his love and loyalty to his beloved.
(Taken from La morte d’Arthur, this artwork shows King Arthur catching sight of his knight Lancelot embracing his wife Queen Guinevere. This love triangle is the quintessential doomed love affair in Western literature)
By now, I hope you’re starting to see some big motifs that are clearly at work in RDR2. Star-crossed lovers, elevated courtship, loyalty, tragedy, and circumstances preventing both lovers from being happy are staples of a rich literary tradition that informs our idea of romantic love in the modern world. More importantly, these tropes are blatantly present in Arthur Morgan as a loyal knight whose main point of narrative tension stems from the personal happiness of being with Mary Gillis vs fulfilling his duty as an outlaw loyal to Dutch and his ideology.
I would like to note that, whenever modern works invoke older literary forms, the effect tends to be elevatory. Notice how none of this is really a major theme in RDR1. We’re not supposed to imagine John as an adventuring knight caught in the highs and lows of criminal courtly life. John’s story is more reminiscent of the anti-Western. On the other hand, Arthur’s feats and tragic love story with Mary hearken back to these historical tales of timeless love and literally knights in shining armor. We’re supposed to think of Arthur as noble, in both senses of the world. In this vein, I don’t think it’s an accident that his very Welsh name of Arthur Morgan was chosen, considering how both Arthur and Morgan le Fay are major players in the Arthurian legend.
Note, it’s not an accident that, in the epilogue, 12-year-old Jack is telling his father about the legend of King Arthur and the knights of the round table. In a way, this is the game’s way of sublimating Arthur and his life into legend. He lived and died tragically, much like his namesake, and in the epilogue he continues to live on in legend, sublimated into fantastical tales for children who seek to be transported to other fictional worlds.
To summarize this subsection, the medieval romance is formally and thematically pervasive in RDR2, making it more unique among other Westerns and anti-Westerns. Arthur Morgan, as a character reminiscent of noble knights of legend, embodies the heroes of both medieval and modern romance.
Romanticism
Arthur contemplating life while sitting on the precipice of Horseshoe Overlook, VP by @papauue
Now, let’s talk about a relatively more modern artistic movement that actually has more overt connections to RDR2′s story and a genre famous for catering to sensitive souls and women.
Historically speaking, romanticism covers a lot, especially (from the German side of things) a movement of philosophy that is all about self-elevation/self-liberation, experiencing the sublime, and encountering nature as an ambivalent yet powerful force that can inspire great transformation.
We won’t get into any of that, but we will get into Romanticism’s ramifications for late 18th-century/early 19th-century culture in Western Europe and North America. Romanticism is the moment of broody poets (Lord Byron, Mr. and Mrs. Shelley, William Blake, Coleridge, Wordsworth, etc), and in this moment we see a turn away from the cosmopolitan pretensions of the Enlightenment in Europe to the purifying retreat of nature and its aesthetic pleasures.
Visually, emphasis on the poet as a lone wanderer as an agent ready to submit to higher powers pervades art in this time. The famous painting by German Romantic, Caspar David Friedrich is a great example of the individual whose seclusion in the great abyss of nature inspires self-elevation.
It always struck me as funny that, cinematography-wise, Red Dead Redemption 2 doesn’t really force shots like this in cutscenes, but the world building and design of RDR2′s open world for sure enables the player to likewise seek refuge and commune with the austere landscape of the North American wilderness. The screenshot below is one of my first screenshots from my first playthrough. The scenery honestly inspires the Romantic sublime, and I definitely think this was deliberate on the part of RDR2 writers and developers!
As you can imagine, the emphasis on landscape, self-liberation, freedom, and experiencing the world ‘through a grain of sand, eternity in an hour’ (from William Blake) works its way into RDR2 via Arthur’s journal. In a previous post of mine, you can get more of the history behind journaling and travel literature as a background on Arthur’s naturalist aspirations. But here, we’re going to talk about the act of journaling itself, i.e. the act of writing prose in a moment of self-reflection, as a byproduct of romanticism and the wandering poet.
Though journaling became a more popular activity in the 1700s, especially with the rise of epistolary fiction and novels, it became more commonplace and standard in the 1800s. The quote below briefly sums up what journaling was used for in this time period:
“Nonfictional narratives of the disease—in texts ranging from diaries and memoirs to medical publications and political debates—were equally central in efforts to make sense of life, illness, and death in the nineteenth century.” - The Making of Social Disease by David S. Barnes
Journaling therefore is an activity of moral development and sensitive self-reflection. The journal is all about making a text to make sense of one’s life and experiences, and often these attempts reflect how nonsensical the world actually is. We definitely get this tone and struggle in Arthur Morgan’s journal, who often writes in his entries that he is at a loss as each failure brings the gang closer to their demise. This writerly, if not poetic, disposition in Arthur shows he is a brooding, sensitive soul beneath that facade of tough and smart-ass cowboy.
But there’s more to Romanticism in Red Dead 2 than landscape. Perhaps the most famous cultural byproduct of Romanticism is the popularity of consumption (i.e. pulmonary tuberculosis) as an aesthetic that makes one more attractive and sensitive.
I am not kidding. There is a great article about the history of consumption as sexy. I recommend this article here for a light and quick read on the subject.
To pull a quote from the article, let me sum up how consumption was seen as sexy in this time period:
“Because of its association with young women and poets, the disease itself came to represent beauty, romantic passion, and hyper sexuality. As far as illnesses went, it was considered to be rather glamorous, and in a culture half in love with death, it inspired its fair share of tributes. There are numerous romantic depictions of young women wasting away in death beds at the height of their beauty.” (from “Drop Dead Gorgeous”)
In addition to aesthetic, David S. Barnes (from the quote above) notes that the consumptive also embodies an idealized path toward self-redemption:
"Briefly stated, tuberculosis served as a key vehicle in the nineteenth century through which womanhood was associated with a kind of suffering that was morally and spiritually redeeming. Moreover, around the turn of the century, even as the French state and the medical and philanthropic communities were elaborating and actively promoting a new vision of tuberculosis as a social problem of the first magnitude, the older reading of the disease as a sign of redemptive suffering persisted and even thrived, in a sense complementing but also implicitly contesting the new sociomedical orthodoxy." (Barnes)
Although the figure of the sexy consumptive typically was a woman, as these historians will tell you, many men -- especially poets and artists -- were considered sexy for having the look of a consumptive. Their emotional outbursts, pale and lean builds, and tendency to die before they’re 30 made them highly appealing and romanticized in an era that was a little too fascinated with death.
Morbid as it is, the figure of the consumptive is where we get these Victorian beauty standards of pale skin, leanness/thinness, rouged cheeks and lips (from the bloody coughs), and artistic sensibility! In literature and art, the ailing consumptive also had a special relationship with nature, as treatment often required they stay in the country for recovery. As such, these consumptive souls were often seen as pure, sensitive, and mellow individuals who are above the earthly concerns of the city.
The aesthetic of the sexy consumptive survives today in vampire literature, as a romance subgenre that plays with the historical monster as an eternally youthful yet morally damned/tortured lover. So, even though this fetishizing of consumption back in the 1800s might come off as morbid and twisted to modern audiences, the cultural impact of romanticism remains with us today, albeit in other mutated forms.
Now, I set up all this historical context to talk about this big plot event in the story of Red Dead Redemption 2: Arthur contracts tuberculosis.
In the tragic conclusion of Arthur’s story, Arthur’s tuberculosis manifests after a rough fifth chapter, and the symptoms become flagrant: pale skin, bloodshot eyes, coughing up blood, fainting, inability to maintain weight, etc-- the supposed traits of the sexy consumption. Now, I don’t think it’s Rockstar’s intention to portray a sick and dying Arthur as sexy, but I do think that in giving him a disease that became less common in 1899 (it was scarier and more prevalent as a disease in the earlier half of the 1800s) is their way of elevating Arthur up as a Romantic Hero. His sensitivity as an artist and ailing health ascribe to him the aesthetic disposition of a poet and a Romantic. Like the beautiful tragic poets of the prior century, Arthur is now on this doomed trajectory toward redemption and self-liberation.
In a way, the consumptive also socially elevates Arthur. Consumption is typically the disease of the rich in 19th-century popular culture. Poets, artists, and repressed daughters of rich families were the more visible victims of this beautifying illness.
I’m not sure if I am still making sense here. And if anyone has questions or confused, I am totally happy to clarify whenever yall want. Basically though, the invocation of Romanticism as a genre in Red Dead 2 is all about making Arthur a Romantic hero whose relationship with nature isn’t so much just one of an outlaw’s but also one of a sensitive soul, whose curious mind leads to moments of pensive self-reflection and contemplations on life and death.
Miscellany and Conclusion
There are other elements that make Arthur an attractive hero for all, detracting from the typical masculine archetypes found in a Western. One thing I couldn’t really classify is Arthur’s compassion toward animals. The soft, breathy whispered “thank you” he gives to his dying horse in his final mission is one such example, but ultimately you’ll find a line of dialogue every once in a while that shows Arthur has a serious respect for animals, if not a soft spot for them. Albert Mason’s photography side missions are proof and point of this tendency in him.
I also don’t want to understate how Arthur, as a talented artist and writer, contributes to his sex appeal as a modern protagonist. Most cowboys in both the Western and anti-Western aren’t artists. In fact, I can’t think of a cowboy who just sketches by his lonesome while out in the wilderness. This attention to landscape and animals in their natural habitat, while explained in my aforementioned post, show a side of him that values the precious yet fragile beauty of nature. It’s sexy for a man to be so earnest in his relationship with the world, forever willing to learn and to appreciate his surroundings. Most cowboys/gunslingers are tamers of the natural world, but Arthur is most decidedly a courteous guest of nature doing his best to respect wildlife while surviving.
In the end, Arthur is a combination of past literary traditions, but such a masterful combination of old form means he is readily recognizable and appealing, because older genres always survive, in some form or fashion, in our modern world. The consumptive Romantic is now the sexy, sensitive vampire. The knight of medieval romance is now the kind man who champions his love via devotion and respect. Arthur Morgan is a critique of the Western’s moral failings, but he is also an enthusiastic rejection of the fraught and emotionally closed-off embodiment of the hypermasculine. He doesn’t just survive -- he lives in the world as a writer, artist, and gentle soul. It is through these combinations that Rockstar can repackage the Western and give us a beautiful and beloved hero like Arthur Morgan.
