Ender’s Game, a novel originally published in 1985, is based on a short story that appeared in Analog magazine in 1977. It lays the groundwork for a series that expands into a saga with five subsequent novels and various spin-offs, including comic books, video games, manga, and a feature film. The series, often referred to as the “Enderverse,” explores themes of war, leadership, and moral ambiguity through the character of Ender Wiggin and his interactions within a dystopian, militarized society.

The Storytelling Approach

Orson Scott Card, the author of Ender’s Game, focuses less on the detailed exposition of the futuristic world and more on the psychological landscape of his characters, particularly Ender. This choice redirects the reader’s attention from the technological and political alterations of Ender's world to the timeless human experiences of thought and emotional conflict. By vividly detailing Ender’s mental processes, Card crafts a character capable of both compassion and unexpected violence, making the internal struggle as compelling as any external plot.

The Role of Dialogue

Each chapter of Ender’s Game begins with a conversation between military figures, predominantly Colonel Graff and Major Anderson, who are responsible for Ender’s training at Battle School. Initially anonymous, these dialogues soon reveal their identities, contextualizing Ender’s journey with the broader goals of his instructors. This narrative device functions similarly to a Greek chorus, offering foreknowledge and commentary on the unfolding events. The contrast between these calculated discussions and Ender’s own thoughts, to which the reader is privy, enriches the narrative by highlighting Ender’s lack of full awareness and understanding of the manipulations he faces.

The Tension Between Humanity and Survival

Graff and Anderson's conversations depict a recurring theme: the balance between preserving personal humanity and ensuring the survival of the human race. This tension is encapsulated when Graff remarks, “I like the kid. I think we’re going to screw him up,” to which Anderson replies that it is their job. Such exchanges force readers to contemplate the ethical implications of treating individuals as tools or weapons in the name of a greater good. Within this context, a pressing question emerges: does the survival of the species justify the sacrifice of individual freedoms and happiness?

Game Mechanics: Reality vs. Simulation

The concept of games and their blurred boundaries with reality stands at the core of Ender’s Game. Ender’s training at Battle School is steeped in gamified warfare, a method that leads him to unwittingly destroy an entire alien civilization under the guise of a simulated exercise. This twist underscores a paradox where games are tools for both strategic training and potential subversion, as seen when the Buggers attempt peaceful communication through a game. The duality of games as both instruments of war and channels for peace challenges readers to question the real-world implications of conflict masked as competition.

Questionable Aggression

Despite being set in a future where Earth faces threats from extraterrestrial beings, notably the Buggers, much of the aggression originates from humans. This reflects in Ender’s story, particularly his violent encounter with Stilson, which parallels humanity’s overarching strategy against the Buggers: to ensure survival through overwhelming offensive measures. Ender eventually discovers that the threat from the Buggers was no longer present, revealing the tragic misjudgment of humanity's aggressive stance. This revelation critiques the strategy of total annihilation, advocating for a more nuanced approach that allows for peaceful resolution and understanding.

Ender’s Strategic Defiance

At Battle School, Ender consistently wins by breaking conventional rules, notably in the Battle Room and the Giant’s Game. His unorthodox methods reflect his ingenuity but also his entrapment within the system. Even when he decides to rebel against the simulation's unfairness, declaring, "If I break this rule, they'll never let me be a commander," he inadvertently fulfills the adults’ objectives. Ender’s complex culpability in the narrative's climax complicates the simplistic view of him as merely a manipulated child. Despite his awareness of being a pawn, Ender’s continued participation in the games highlights his internal struggle between autonomy and control.

The Illusion of Control

Ender’s desire to win at all costs seemingly grants him agency but ultimately obscures his deeper submission to the authorities manipulating him. His decision to continue playing, even with the knowledge of the manipulation, suggests that his perceived victory is, in fact, a form of surrender. This dynamic illustrates a critical commentary on the nature of competition and winner’s blindness to larger power structures, proposing that Ender’s greatest flaw might be his relentless pursuit of victory.

An Optimistic Yet Complex Resolution

Despite the dystopian setting, the narrative's conclusion channels an unexpected optimism. Colonel Graff transitions into a more constructive role as Minister of Colonization, marking a shift from destruction to creation. Ender’s relationship with his siblings, Peter and Valentine, evolves as well, offering him a chance for redemption and reconciliation. While Peter secures political power, Ender and Valentine journey through space, affording Ender the opportunity to foster a new Bugger society. This not only offers atonement but also allows Ender to redirect his formidable intellect towards creating rather than destroying.

Ender’s journey, interwoven with themes of strategy, control, and moral ambiguity, is enriched by his reconnection with Valentine, his most positive influence. Their exploration suggests a hopeful future, as Ender seeks to transcend his violent past and engage with the world in a constructive manner. The open-ended nature of Ender’s mission invites readers to ponder the possibilities of growth and change beyond the confines of his previous existence in the “Enderverse.”

In the backdrop of the 1980s, global tensions and technological advancements shaped a rapidly changing world, paralleled by transformative religious shifts. The Cold War was heating up once more, science and technology were advancing at lightning speed, and religious dynamics were seeing a significant shift towards conservatism. These elements combined to create a unique historical context that influenced both real-world events and fictional narratives such as those found in Orson Scott Card's novel, Ender's Game.

The Cold War and Geopolitical Tensions

The 1980s marked a dynamic period in the Cold War, with increasing tensions between the United States and the Soviet Union. The period was characterized by a military buildup without direct confrontation, a consistent theme since the end of World War II. As the United States and the Soviet Union fortified their nuclear arsenals, they sought to prevent the other from gaining a military advantage. This era of geopolitical anxiety is vividly reflected in Ender's Game, where international conflicts of the twentieth century linger, albeit in a futuristic setting where Earth unites against an alien threat.

In Ender's Game, the fictional world is on the brink of a "fundamental shift in world order." Peter Wiggin foresees the dissolution of North American alliances and a rise in Russian dominance once the "bugger wars" are over. This scenario mirrors real-world fears from the 1980s, particularly after the Soviet invasion of Afghanistan in 1979, which heightened U.S. fears of expanding communism.

Meanwhile, President Ronald Reagan's election in 1980 marked a more aggressive stance against the Soviet Union. Reagan referred to the USSR as an "evil empire" and proposed a "Strategic Defense Initiative"—dubbed "Star Wars"—aimed at intercepting nuclear missiles from space. Despite public reassurances about arms reduction, these military plans increased Soviet anxieties about American intentions. However, when Mikhail Gorbachev assumed power in 1985, tensions began to deescalate, eventually leading to the dissolution of the Warsaw Pact and the Soviet Union in 1991.

Technological Transformations

The 1980s witnessed significant advancements in technology, notably the rise of personal computing. Previously confined to large research facilities, computers became more accessible to businesses and individuals, transforming everyday life. Apple Computer's introduction of the Apple II in 1977 and IBM's PC in 1981 paved the way for widespread adoption. As "computer literacy" became a necessary skill, schools began integrating computers into their curricula. By 1987, more than two million computers were used in U.S. schools, up from just 100,000 in 1980.

This era's burgeoning computer culture is mirrored in Ender's Game, where characters interact with computers for games, simulations, and education, emphasizing the growing influence of technology. Additionally, the rudimentary internet of the 1980s, though primarily for academic communication, foreshadowed the expansive digital networks that would later reshape society.

In the biological realm, the 1980s also experienced a revolution. Advances from the previous decade enabled scientists to manipulate DNA, creating new strains of plants and animals. While these breakthroughs promised improved agricultural productivity, they also prompted ethical concerns about genetic engineering's application to humans. Ender's Game explores similar themes, with Ender's character being a calculated genetic blend of his siblings, orchestrated by the government to craft a military prodigy.

Religious Shifts and Social Dynamics

During the 1980s, a cultural yearning for tradition and stability emerged following the experimental 1960s and 1970s. Many sought the constancy of religious faith as a foundation in their lives, leading to a resurgence in religious conservatism. A Gallup poll in 1986 revealed that 31% of respondents identified as evangelical or "born-again" Christians. This shift was accompanied by a growing conservative Christian political movement eager to spotlight moral issues.

In contrast, the "New Age" movement also gained traction, focusing on personal spiritual expression. Amidst this religious search, Ender's Game presents a world where religious expression is often stifled. Ender's parents, for example, renounce their faiths to conform to societal norms, reflecting broader pressures to suppress religious identity. This dynamic resonates with Card's Mormon background, where historical persecution informed the nuanced portrayal of religion in the narrative.

The Mormon Church, founded in 1830, had faced its share of persecution due to controversial practices like polygamy. Over time, the church renounced such practices and integrated more into mainstream society. By the end of the 1980s, the church's membership had surged to over seven million, yet Mormons often faced stereotypes and misunderstandings. This context enriches the religious themes woven into Ender's Game.

Social Concerns and Ethical Dilemmas

At the heart of Ender's Game lies a cautionary tale about the perils of an overreliance on military power. The novel critiques the morality of "winning at all costs," highlighting how state-enforced population control can erode religion's societal influence. Within the story, Ender Wiggin's existence as a "third" child defies restrictive population policies, underscoring the tension between state mandates and personal freedom.

Ender's parents, having compromised their religious convictions for societal benefits, allow their children to be manipulated by military forces. The narrative follows Ender, who, monitored by the International Fleet (I.F.) from birth, is thrust into a world of isolation and relentless testing. His journey mirrors a broader concern of the era: the potential misuse of technology and the information highway.

Ender's siblings, Peter and Valentine, harness the nascent internet to shape global politics under pseudonyms, representing the dangers of unchecked digital influence. Their actions, while initially unnoticed by the Fleet, eventually reveal how absolute power corrupts, often at the expense of the innocent.

Ender's ordeal reflects the psychological impact of war, where manipulation supplants informed choice. His sister Valentine, driven by the same need to win, aids Peter despite recognizing his malevolence. Their experiences underscore a central tenet: without moral guidance, individuals are vulnerable to manipulation, unable to resist the roles imposed upon them.

The novel closes with an exploration of redemption and acceptance. Ender, devastated by his unwitting role in genocide, seeks atonement as a "speaker for the dead." In contrast, Peter, a calculating sociopath, never fully repents but seeks validation from his brother. This complex interplay of personal agency and societal influence is poignantly summed up by Valentine: "Nobody controls his own life, Ender. The best you can do is fill the roles given you by good people, people who love you." In this world, the absence of a strong moral and religious foundation leaves characters susceptible to manipulation, underscoring the broader social concerns of the 1980s.

While reading the chapters about the Battle School, one cannot help but be reminded of the boys in Golding's Lord of the Flies (1954). Similar to Golding's characters, the trainees at the Battle School are not inherently evil but are simply children acting on their natural instincts rather than following an externally imposed moral code.

On a lighter note, the video war games bring to mind the film The Last Starfighter (1984), which is based on a science fiction novel by Alan Dean Foster. In this story, an Earth boy is recruited by aliens to become a starfighter after winning an arcade video game placed by the aliens.

Ender's Game is the inaugural book in a series detailing the adventures of Ender Wiggin and his sister, Valentine. Following the faster-than-light travel rules established by Card, their interstellar journeys significantly decelerate their aging. For instance, a two-year voyage to the first colony takes just two years for them biologically, but fifty years elapse on Earth. This phenomenon grants Ender and Valentine exceptionally long lifespans compared to the time passing on Earth. Their continued journeys are documented in Speaker for the Dead (1986) and Xenocide (1991).

Mark Rolston provides the narration for an abridged three-hour audiotaped version of Ender's Game, which was adapted by Audio Renaissance Tapes, Inc. in 1991.

Card has written a screenplay adaptation of Ender's Game. As of 1998, he was collaborating with Chartoff Productions and Fresco Pictures to bring the film to life.

Sources

Orson Scott Card, Introduction to Ender's Game, Tor Books, 1991.

Michael Collings, review of Speaker for the Dead, Fantasy Review, April 1986, p. 20.

Tom Easton, review of Ender's Game, in Analog Science Fiction/Science Fact, Vol. CV, No. 7, July 1985, pp. 180-181.

Review of Ender's Game, in Kirkus Reviews, Vol. LII, No. 21, November 1, 1984, p. 1021.

Roland Green, review of Ender's Game, in Booklist, Vol. 81, No. 7, December 1, 1984, p. 458.

Gerald Jonas, review of Ender's Game, in New York Times Book Review, June 16, 1985, p. 18.

Dan K. Moran, review of Ender's Game, in West Coast Review of Books, Vol. 12, No. 2, July/August 1986, p. 20.

Michael Lassell, "A Youngster Saves the Planet," in Los Angeles Times Book Review, February 3, 1985, p. 11.

Elaine Radford, "Ender and Hitler: Sympathy for the Superman," in Fantasy Review, Vol. 10, No. 5, June 1987, pp. 11-12, 48-49.

For Further Study

Orson Scott Card, "Rebuttal," Fantasy Review, Vol. 10, No. 5, June 1987, pp. 13-14, 49-52.
In this response to Radford's critical review of Ender's Game, Card argues against the critic's comparison of Ender to Hitler. He contends that Radford has misinterpreted the novel by ignoring its nuanced approach to themes of empathy and violence.

Orson Scott Card, "Characters and Viewpoint," Writers Digest Books, 1988.
In this comprehensive guide to writing, Card explains how to create, introduce, and develop characters in both long and short fiction. He also explores the different perspectives available to fiction writers.

Orson Scott Card, "How to Write Science Fiction and Fantasy," Writers Digest Books, 1990.
Card offers aspiring science fiction writers advice on inventing new worlds, cultures, and magical elements.

Orson Scott Card, "Hatrack River: The Official Website of Orson Scott Card," http://www.hatrack.com.
This website is a rich resource on Card and his works. It includes a section for student research and a question-and-answer segment with the author.

Contemporary Literary Criticism, Vol. 44, Gale, 1987.
This volume compiles critical essays on Ender's Game.

Graceanne A. and Keith R. A. Decandido, "PW Interviews Orson Scott Card," Publishers Weekly, November 30, 1990, pp. 54-55.
In this interview, Card discusses the belief system underpinning his work, his examination of moral issues, and his use of violence.

Janrae Frank, "War of the Worlds," Washington Post Book World, February 23, 1986, p. 10.
Frank questions the religious imagery present at the climax of Ender's Game and its sequel, Speaker for the Dead, speculating whether this recurring theme reflects a personal conflict.

Jean Jacques Rousseau, Emile, Dutton, 1974.
Originally published in 1762, this seminal work is one of the first to explore the differences between a child's and an adult's mind. Rousseau is renowned as one of the world's leading social philosophers, whose ideas significantly influenced the Declaration of Independence.