"Deep"

1
Issues

Raise your hand if you considered these things as a teenager--and raise both if you came to some conclusion about them that you still hold:

-What are the differences between a terrorist and a postcolonial freedom fighter engaged in asymmetric warfare against an occupying power? Are there any? How do we decide which a person is?

-Are (relative) peace and order worth oppression? How much?

-Is it ok to enslave robots that have personalities and what looks to be free will?

-What's up with the Eichmann "banality of evil" thing? Can you be bad for just doing your job?

I bet there's a fuckton of hands up right now, and not even just from the kids who always sharked straight for the Isaac Asimov at book-fair time. These are commonplace moral questions of the kind everyone born in the mental atmosphere since mid last-century has had opportunity to think about--and they feature prominently in many entertainments that teenagers might watch (for example, the third one is in Blade Runner, the last is in fucking Clerks, and they all sound like questions that'd be asked in random Star Treks--especially if it was a Wesley episode.)

In 2016, these questions (and things like "is reality real or am I a brain in a jar?", "is gay stuff ok?", "is there a god?" etc) are teenagery questions. This is not to say these questions aren't important: they need answers and very often adult action or legislation hinges on some of the answers and often adults give the wrong answers--but generally they only become difficult in non-fictional contexts when specific realworld identifiable personal interests are stake (like: "Spreading feminism is good, but invading countries is bad--do these priorities conflict in Afghanistan?""I just dropped a lotttt of acid--how much of reality can I epistemologically verify right now on this roof?").

The bullet-pointed questions, outside specific real-world iterations, are so basic they shouldn't make adults think. An adult thinking about these things would be like a teenager thinking about how to get socks on.

2

"Thought-Provoking"

...yet somehow we still see the myth that Thought Provoking And Grown Up media "explore" these kinds of questions (to some undefined degree of exploredness) in their made-up worlds.

A typical example of the abuse of these terms appears, with some Rogue One spoilers, here.

The concepts of "grown-up" vs "adolescent" art--and related dichotomies like "mere entertainment" vs "makes you think" and "shallow" and "deep"--are as leaned-upon as they are vaguely-defined. "Thought-provoking" is usually used by critics to describe a work's attempt to communicate to other people the critic conceives of as less intelligent than the author that they should think about some things the critic already has long ago made their mind up about. The reader of such criticism often gets the feeling the critic wishes the world would catch up to the artwork--but what's noble in that sentiment is buried under the self-deception of pretending the art is doing work that it isn't.

This is why RPGs like Dogs In the Vineyard are alleged (by fans, not always the authors) to be more grown-up or thoughtful than D&D even though questions like "Is being a religious fascist ok?" and "Is cheating on your wife in the wild west ok?" are not actually remotely grown-up moral questions. Are there adults who would play Night Witches who were sexist before and decided not to be after?

Not only does the description of an artwork as "thought-provoking" etc often not actually involve the thing having provoked the speaker to have new useful thoughts, it's an expression of basically the opposite: the work, if anything, entrenches the critic further in their pre-existing beliefs.

3
Fascination Creates Content

Does that mean creating truly thought-provoking art is impossible? No. Or, at least it's no harder than making good art.

Here's a fact: how much artworks can say is largely an issue of how many questions you ask them.

There are people who read about King Arthur as a child or see a film of Hamlet as a teen and enjoy them, maybe think a little, maybe get a little, then move on. Then there are people who keep asking these artworks things their whole lives--and keep getting useful answers. TH White asks the King Arthur story some childlike questions in Sword And The Stone (People get turned into animals? What would it be like to be turned into a bird?) and some very grown-up ones in later books (What would it be like to actually be the Lancelot described in the poems--a man who combines total nobility, immense capacity for violence and sexual dishonesty? Is that even a real personality?).

I'm going to go ahead and say there's no evidence this interrogatibility isn't true about any stupid thing you like. Because the mere fact that an art object fascinates you when others superficially similar do not tells you that it is hooking into something in your unique psychology. If you like the old Power Puff Girls but not the new Power Puff Girls and you think about Power Puff Girls every day even as a grown up than Power Puff Girls is talking to you, telling you about sensibilities, sensitivities, subliminal appeals that no other tool could articulate to you.

The amount of content a work of art has for any given audience member is always at least as large as the degree to which that audience member is fascinated with it. The fan who claims Ulysses has all the answers to the universe in it is right--but so is the fan who claims Ulysses 31 does. The main reason there are less of the second guy is because Ulysses was trying to do that. But a thing's desire that we should be fascinated is never necessary or sufficient to make it so.

This is because anyone's fascination is an index of mysteries unsolved to their unique human psychology. There is no such thing as empty appeal or "mere entertainment"--this is just a device critics use to hold their enjoyment at arm's length to avoid asking themselves why something in them they can't account for still wants to see lasers and swords move in this way rather than that way.

Calling lasers and swords (and mean girls and make-up and prom) or anything else that is entertaining you, an adult, "adolescent" is cheap--because if, as an adult, you keep asking lasers and swords grown-up questions, you will keep getting grown-up answers. I asked rocket cats questions once.

4
Everything Can Be Adult

I read TH White's Once & Future King as a kid and didn't really get a lot of the stuff about the adults. I read it--and enjoyed it--as just descriptions of some people. What I didn't have is the recognitions--Oh, that feeling. Oh, that kind of guy, that kind of girl. 

This, rather than any attempt in fiction to focus attention on ethical dilemmas, is probably the most exclusively adult kind of art-moment: seeing things and having them remind you of things and times gone away. This is why, stereotypically, the older people are the more likely they are to cry--everything reminds them of something.

White's book has:

-kid+adolescent+grown-up content (pretending to be a bird, knights fighting)
-adolescent+grown-up content (the jokes and subtle inversions in the dialogue)
and
-grown-up-only content (the wistful, compromised emotional politics in the court).

I'd hesitate to be so vague as to call that content deep. Like "problematic", it's a word people use when they're afraid being pinned down to specifics would embarrass them. I'd say simply that part of White spoke to experiences I had because I'm an adult, with no value judgment beyond saying certain parts of the Big Lebowski speak to experiences I've had because I'm a nihilist porn actor who lives in Los Angeles.

5
Some Things Are Only Adult

After Rogue One (which ruled, btw), I saw an unimpeachably grown-up movie about people in the real world where everyone was going to a funeral and an old song started to play and it felt distant and melancholy. I was reminded of things I'd been through and the song kept playing in my head for hours. I definitely was provoked to think--about people and about time.

The film was the kind that tried to build itself largely out of grown-up-only content. You can do that: you can make good things for grown-ups that kids can't get anything out of (and people should, and they are not discussed enough in places like D&D blogs) but you can't do the opposite unless you get down to the level of like Barney and Sesame Street. As soon as you get up to 6 or 7 years old--say Spongebob or Duck Tales--you're back to things some adult somewhere can productively obsess about ("Scrooge McDuck As Avatar of the Imperial-Heroic" etc).

6
Finding Meaning In Art Is Like Finding Geology In the Ground

I don't think you can be provoked to think by design. I think you can be persuaded to think, but only using the same tools with which you can be persuaded to play at all: by finding something so beautiful and fascinating and fun that you choose, in quiet moments, to think about the thing rather than be separated from it. If you wake up thinking about Overwatch and you go to sleep thinking about Overwatch then eventually, if you're a thinker, you will start thinking about Overwatch.

Finding meaning in any art is like finding geology in any ground--you dig, you'll get it. Fictions don't explore issues--people explore fictions and then find issues there. When you invest hard enough you get an inevitability: the evidence left when complete, complicated humans contrive to find new ways to speak to as-yet-untapped parts of other complete, complicated humans.

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