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Read through the most famous quotes by topic #fantasy
While I have the floor, here's a question that's been bothering me for some time. Why do so few writers of heroic or epic fantasy ever deal with the fundamental quandary of their novels . . . that so many of them take place in cultures that are rigid, hierarchical, stratified, and in essence oppressive? What is so appealing about feudalism, that so many free citizens of an educated commonwealth like ours love reading about and picturing life under hereditary lords? Why should the deposed prince or princess in every clichéd tale be chosen to lead the quest against the Dark Lord? Why not elect a new leader by merit, instead of clinging to the inbred scions of a failed royal line? Why not ask the pompous, patronizing, "good" wizard for something useful, such as flush toilets, movable type, or electricity for every home in the kingdom? Given half a chance, the sons and daughters of peasants would rather not grow up to be servants. It seems bizarre for modern folk to pine for a way of life our ancestors rightfully fought desperately to escape. ↗
It appeared to the Elders that the people here would believe anything about themselves, no matter how preposterous, as long as it was flattering. To make sure of this, they performed an experiment. They put the idea into Earthlings' heads that the whole Universe had been created by one big animal who looked just like them. He sat on a throne with a lot of less fancy thrones all around him. When people died they got to sit on those other thrones forever because they were such close relatives of the Creator. The people down here just ate that up! ↗
There is no winning or losing, but rather the value is in the experience of imagining yourself as a character in whatever genre you're involved in, whether it's a fantasy game, the Wild West, secret agenst or whatever else. You get to sort of vicariously experience those things. ↗
#else #experience #fantasy #game #genre
I love the way folktale and fantasy tap into the roots of story telling. The paradox, for me, is that by moving a story into the fantastic we can actually bring it closer to the reader, not move it further away. It is more than an escape. When we read of the only daughter of a fisherman (or the third son of a woodcutter) in a fairy tale, we are all that character. That's the underlying pulse beat of such tales. Using the fantastic as a prism for the past, if done properly, removes the tale from distancing specificity. It can't just be read as unique to a time and place; it is universalized in interesting, powerful ways. When I wrote Tigana, about the way tyranny tries to erase identity in conquered peoples, the fantasy setting seems to have done exactly that: I'm asked in places ranging from Korea to Poland to Croatia to Quebec, "Were you writing about us?" I was. All of them. That is the point. The fantastic is a tool in the writer's arsenal, as potentially powerful as any there is, and any tool we have works to the benefit of the reader. (Author's Note) ↗
