genre epic

listen don’t get me wrong i love epic fantasy and sci-fi but it is very very important to me that we get fantasy & sci-fi on a smaller scale as well. i’m tired of reading about the Special Person Who Will Save The World. that’s not relateable. i want to hear more stories about bit players on the world stage! a traveling theatre troupe of goblins struggling to write a new play, two rival families of smugglers living on the same space station transport hub, a rom-com about a young hedge witch, a coming-of-age story about a dryad

give me more weird clever small stories

anonymous asked:

Do you have advice on making a "I'm off to a journey to search for my friend" plot more interesting??

Hello there!

Before anything else, I’d first like to challenge you that the plot on its own needs to be more interesting. A character on a journey searching for someone is a basic plot, and it’s not inherently boring on its own. It’s what you do with it that makes it interesting or boring or whatever. The reason I insist on pointing this out is that it seems as though you’re dogging on your concept before you’ve even started! And that’s no good, so I would start by realizing that it’s not boring by default. It’s not that you need to make it interesting; you just need to work on developing it in a way that intrigues you. 

Here are some tips on how to focus your brainstorming, however:

1) Find ways to show their friendship.

Showing a deep friendship in fiction is often difficult on its own, but in this instance, where the two characters spend a majority of the novel away from each other, you’re unable to show them bonding over common experiences. You’re unable to show them challenging each other, or caring for each other. You have to rely on your ability to show this friendship without actually… showing it. 

An intimate narrator, such as a close third person point of view or a first person point of view, will allow you to get deep inside the head of the character who is searching for their friend. And inside this character’s head, you can reflect on memories from “the old days,” when they were younger, or at least before the lost friend became lost. You can write these out as flashbacks or as brief reflections in the middle of scenes. The narrator might see something that reminds them of a story they remember involving the friend, or even just reminds them of a habit that friend has. 

You also can’t forget to show the more intimate aspects of their friendship. By intimate, I don’t necessarily mean romantic, but the moments where they were more than just casual friends. Moments where they each showed their vulnerability by sharing something personal, or admitting when they were sad or scared or upset. Intimacy is also shown by how well a character can predict another character’s actions, as well as anticipate their needs. Intimacy is shown when a character recognizes when another character is feeling anxious or worried and is able to provide the exact remedy they need to calm down, without having to ask what they can do. In one scene, your protagonist might remember how this friend used to know exactly how to calm them down, and how much they wish they were there right then to help them.

“Journey” stories tend to include a lot of down time, where a character is traveling peacefully, or waiting for a storm to pass, or simply walking a long distance. The goal is to fill this downtime with stuff, and this stuff includes lots and lots of character reflection. Let this character remember their friend often, so readers will feel the pain of their absence and understand the need to find that friend as soon as possible. 

[You also might include the other friend’s point of view as well - the one who is lost. Depending on where they are and what they’re going through, they might also be thinking about the friend that is searching for them, and we can see how they each view their friendship differently]

2) Populate the journey.

Journey stories are infamous for including “pit stops,” or points on the journey where the characters settle into a setting for an extended period of time and often meet new characters. These new characters may join the protagonist on their journey, or they may simply provide insight or perspective on something the protagonist is going through internally. 

For example, if the protagonist is agonizing over an aspect of their friendship with the lost friend - perhaps a conflict they failed to resolve before the friend went missing - then maybe the protagonist meets someone during this pit stop that is going through a situation that has similarities to their own, and the protagonist can see how it plays out in someone else’s life. It allows them to take that experience and apply it to their own. 

Pit stops might also reveal information that causes the protagonist to completely alter their journey in a new direction. They may discover a new lead, or uncover a secret of their friend’s that they were unaware of before. 

Even outside these pit stops, it’s a good idea to populate the world your character is journeying through with brief acquaintances. Think of The Alchemist or Cormac McCarthy’s The Road. The protagonists of these stories often ran into characters that did nothing but create small conflicts, or force the protagonist to think deeply about some aspect of themselves. Not all characters need to become deeply involved in your character’s journey. Sometimes they can just be brief blips to shake things up. 

3) Plan the turning points and setbacks in advance.

During the journey, the character is likely to experience setbacks. They might realize that they’ve been going the wrong way for days, or that their friend is not in the place they originally thought. They might even discover an enemy they didn’t even know existed. Setbacks are what will keep the journey from becoming too boring and predictable. So in the planning stages, think about what you can do to challenge your character. Push them to a point where they’re close to giving up, and then have them find the strength to keep going (the turning point).

Be specific about these setbacks and turning points. It depends on the length of your story, but start with 3 major setbacks. Decide on an order for these setbacks, and then for each one, devise a solution for how your character pushes past it. Once you’ve got these three pairs (setback + turning point), think about how you can transition between them. This becomes the foundation of your plot outline. 

Ultimately, journey stories can be a lot of fun to write, but they do come with the unique challenge of containing lots of uneventful moments that need to be beefed up to make them relevant. If you’ve got a good concept to start with, I’m sure you’ll find a way to add some interest. 

Good luck!

-Rebekah

FML

We’re reading the Odyssey in my world lit class. I wrote a bit in the discussion board on the nature of the interactions between Athena and Odysseus (she’s championing his cause, amused with him/’this is my human and he will be my human’, as patron goddess of warcraft and strategy, he’s kind of uniquely hers, etc.). This post was well informed, based firmly in the text, in Greek mythology as a whole, and in the tropes of the epic genre.



Not one, but two people commented back, fucking told me I was wrong, and tried to strong-arm the text into proving their pet points……….that Athena’s real motivation, from page one, is to try and get in Odysseus’s pants, and that Odysseus is friendzoning her.

Can I say that again? They literally argued with me and tried to prove that Athena (Athena! - you know, vow-of-virginity, spurns the attentions of any man who comes near her, Athena) wants to fuck Odysseus and that’s the central plot of the epic.

Can I crawl under a rock and stay there forever?

Originally posted by happywayfinder

2

Late fall 2014 I was going through a dark period and I read nearly 50k+ words of Merthur fic a day. So because someone asked (whybecauselogic) long ago, and because I appreciate these works so much for haven gotten me through that time, here’s my merthur rex. Most are novels! Happy FFWA, all you writers out there!

(gif is not mine found it on google but no link to original)

canon era:

stars above, stone below by destina

words: 46,843 | rating: explicit | genre: romance
summary: After the disastrous end of his betrothal to Gwen and the regret of his offer to Princess Mithian, Arthur swears off finding a wife until he’s ready to wed. When Merlin offers himself to Arthur as bedmate, Arthur suggests they hand-fast in secret for a single year of mutual pleasure without obligation. As their year together unfolds, and secrets and betrayals unravel around them, Arthur and Merlin learn there is no such thing as uncomplicated pleasure. Everything they thought they knew can change in the span of a single year.

para bellum by destina

words: 51,464  | rating: explicit | genre: romance/est relationship
summary: After Merlin goes missing, Arthur forges new alliances to repel a deadly threat to Camelot. Nothing will stop Arthur from finding Merlin, and nothing will stop Merlin from protecting Arthur – no matter the cost.

seven magpies by syllic

words: 33,448 | rating: explicit | genre: romance
summary: Arthur opened his eyes a minute later to the sight of seven magpies streaking across the top of the clearing, their shapes dark against the white clouds and the muted grey of the sky. He tried to remember what it was that seven magpies meant—he’d had a nurse who had sung the rhyme to him as a child—but couldn’t. Arthur wakes up somewhere he doesn’t recognise, but where he clearly belongs.

in want of a wife by syllic

words: 43,209 | rating: explicit | genre: romance
summary: uther intends marry off arthur, so arthur takes it as his chance at a bit of freedom before he is to be married.  (my summary not the authors)

the knights have a thousand eyes by stakeaclaim

words: 73,565 | rating: general | genre: friendship/romance
summary: In which Arthur is out of sorts. His manservant leaves a lot to be desired, Morgana is scary, Merlin’s ‘luck’ is becoming too noticeable, his knights need to learn some lessons, and they’re beginning to act very strangely. Arthur blames Merlin.

Keep reading

Rogue Fantasy: an anaysis and overview

So for my second term of high school (I do clonlara school, basically an online high school) I decided to give in to nerdery and do a summary on the Rogue Fantasy subgenre. I know, I know, it’s crazy. But here it is.

*Deep breath*

~Rogue fantasy~


Introduction and general overview


Fantasy is an incredibly rich genre, but since it’s birth, it has grown enormously, new subgenres evolving seemingly endlessly. Fantasy as we know is fiction whith otherworldly, unnatural and/or magic elements incorporated to the story and world.


To name a few genres;

There’s High Fantasy & Epic Fantasy – great stories that take place in entirely fictional universes, often letting the reader follow several protagonists’ points of view.

There’s Urban Fantasy, which is fantasy themes applied to an urban, often steampunk setting.

There’s ‘Grimdark’ where the name almost speaks for itself, dark worlds filled with evil and disaster, where the morality of the characters are in most cases questionable.


I’ve recently been reading a lot of Rogue fantasy. Like the name suggests, it’s subgenre about thieves and rogues, where the criminal aspects are key to the story.

However, I’ve had a hard time defining the genre. The books I’ve read during my work with this genre have all fit into different subgenres according to other readers, and because of that, I’ve been able to see connections between different subgenres.


For example, I read a series called the Gentlemen Bastards Sequence – a story of thieves and conmen in a world which is not entirely dissimilar from our own rennaisance world. Someone classified those books as Grimdark fantasy. I read another book, a classic, the Princess Bride, just to realize that this book is more of a 'Swashbuckler’ fantasy novel. Swashbuckler fantasy is mainly about heroism in a world full of adventure, with swordfighting and pirates and whatnot. And then I realized that I could absolutely fit the Gentlemen Bastards books into the Swashbuckler genre as well as the Grimdark genre. And so on.


I think that this particular genre, although it’s a very popular one – with thieves more or less dominating the Young Adult section of fantasy – is rather 'unclassified’. Or maybe that’s the wrong word. Rather that the books can fit into several genres, which would make more sense.


For example, I could see the book 'The Princess Bride’ as a rogue fantasy book because it shares the Swashbuckling action and adventure that many other 'rogue’ fantasy books I’ve read have. I think it’s very important to realize that when talking about different Fantasy genres, it’s often a personal case of classifying it.

1: The Rogue


If I had to name one thing that makes Rogue fantasy Rogue fantasy – it would of course be the rogue herself. But there isn’t just one rogue – there are different kinds. Especially in this genre, the types of rogues are many. I’ve made a list where I describe the different kinds of rogues I’ve found in fantasy fiction.


First off, the word 'Rogue’ means 'An unprincipled, deceitful, and unreliable person; a scoundrel or rascal’.


This means that a rogue doesn’t have to be a thief although most of us probably think of an assassin when we hear the word rogue (courtesy of World of Warcraft) but that’s only one of the many things a rogue can be.



The different kinds of Rogues


The first thing that springs to mind when we think of Rogues is probably the Thief.


The Thief

There are many kinds of thieves just as there are many kinds of rogues, but a thief is always a person who steals, if not, they’d be called something else. The thief could be anything from a professional housebreaking burglar to a lowly orphan pickpocket to a corrupt politician working to fill his coffers on the work of others, But in the end, it’s still a thief we talk about. The fantasy thief we get to follow is often an orphan, either working alone, a miserable soul alone in a dangerous adult world, or they could be a member of a gang, where the orphan works together with others. Often, these gangs have distinct hierarchies where the bigger, tougher orphans keep the younger ones at bay with violence and threats, with the younger ones doing the hard work just to have their stolen goods confiscated by the ones higher up in the ladder. But a Thief can also be adult, of course. Then we’re looking at burglars and pickpockets who could either have grown up doing their job, or have become thieves as a result of for example poverty or bankrupcy. In the end, anyone could be a thief, if there are no other choices.


The Assassin

Another of the most well-known types of Rogues is the Assassin. Just like the case with thieves, there are numerous forms of Assassins; From the lowlife cutthroat waiting in the alley for someone to kill and rob to the professional hired killer that hunts down people in exchange for payment. The typical fantasy Assassin doesn’t usually hold any personal grudge against her target – she simply kills because whoever paid her told her to. For this, the assassin has to be cynical and resistant to emotion. The idea of killing anyone – young or old, king or peasant – has to be acceptable for the ideal assassin. The Assassin is known to work alone. She rarely have friends or close contacts, maybe because she has a habit of not trusting anyone she’s not threatening with a dagger. However, assassin guilds are not entirely uncommon in the world of organized crime. An important thing to remember is that not every assassin is a specialist trained to kill kings and politicians, quite the opposite actually. Being a professional assassin takes a lot of practise and a good pinch of skill, so simple cutthroats and stranglers are common in gangs, working along with burglars or other thieves to achieve a common goal: money.


The Bandit

A disclaimer: When I say bandit, I don’t mean the same kind of criminal as the Thief. The bandit, to me, is a criminal with an adventurous spirit. Think Robin hood, or Captain Jack Sparrow, for example. The Bandit usually has slightly better morals than the thief or the assassin, but that doesn’t mean they are kind members of society. Bandits steal and pillage too. But the bandit is in some occassions almost a folk hero. He steals from the rich and (sometimes) gives to the poor. There are many kinds of bandits. There’s the forest bandit, working in gangs together, robbing kings and dukes and then withdrawing to the safety of the deep forest, there’s the heroic but scumbag-ish pirate, who is the most 'evil’ kind of bandit, there’s the highwayman – an almost ghostlike bandit who appears out of thin air on the roadside to rob you of your belongings. There’s the steampunk freebooter, much like a pirate, often a member of an often dysfunctional criminal gang dedicated to adventure and treasure-seeking.

To summarize the bandit;

Where the thief does it because she has no other choice, the Bandit does it just because she can.


The Trickster

This is a tricky one. See what I did there? No, but seriously, this is where the lines start to get blurry. From the corrupt aristocrat to the orphan street actor, the Trickster is a thief who swindles others. Also often called a conman, this is one of the more interesting types of thieves according to me because it involves so much play. The Trickster carefully plans his jobs, wether they involve the swindling of a wealthy aristocrat or a simple street con. The Trickster is often a richer kind of thief, who can afford costumes and disguises which he or she can use in their jobs. Example: The Gentlemen Bastards book series is about a gang of tricksters. The first book involves them playing a heist against a rich nobleman, seamlessly weaving a totally fake story to get his attention, and then, spinning the web even wider, they begin hauling off bags of money right in front of their eyes. The Trickster often enjoys his job. A personality trait common to many tricksters is good charisma. The Trickster can convince and bluff anyone with a little time and perhaps just a little bit of luck, wether it be that rich, influental lady down in the Ballroom or the paranoid duke in his well-guarded office.


The Bruiser


This is another kind of weird type of rogue because the Bruiser is often not just a bruiser. A Bruiser is a strong person who has experience with weapons and can handle themselves well in a fight. For example, the Bruiser might be a war veteran or ex-guardsman. The Bruiser is a teamplayer, definitely. She is very important in a gang of Rogues. A Bruiser can rough people up while the Thieves empty their treasury, or if something goes wrong in a job, one can always rely on the Bruiser to be there with either her fist, swords, or in Jean Tannen’s case – his two hatchets. But as I said, the Bruiser must not be limited to just fighting and brawling, in many cases, a Bruiser is skilled in the arts of stealth and pickpocking as well

~The Rogue Character~


In Rogue fantasy, the main ”element” is the character, without doubt. What I mean with this is, in for example, Epic fantasy or High fantasy, the world is the focus. Worldbuilding is key. But Rogue Fantasy involves getting personal with the characters. Very personal.


The rogue is a lawless person, who steals money or valuable property from others for their own gain. The morals of a rogue are always a relevant topic in Rogue Fantasy. What separates a heroic ”steal from the rich – give to the poor”-bandit from a lowly murder? Both are criminals, right?


For a rogue fantasy story to be interesting and enjoyable to read, the rogue character has to have some human side that can be understood by the reader. This can and will of course vary from reader to reader. I’ve seen reviews of books with ”evil” characters where I really don’t agree at all – and vice versa. It’s a tricky thing to know who’s going to enjoy the book and who’s going to disagree with the mission of the main characters. Sometimes one can both enjoy the book and also disagree with the characters mission, as I said, it’s a very personal thing.


Gender equality


This is also something that varies from author to author. But the Rogue fantasy books that I have read have actually surprised me. I would have loved to see even more female main/important characters but I will have to give this genre a pass on the gender equality test. Sexism was actually very sparse in the books I read, even Goldman’s 'The Princess Bride’ from the 1970’s, which did include some sexism, but that was in the 70’s and from what I’ve seen and read, Rogue fantasy and Fantasy in general has more or less grown past sexism. But again, this varies. Not all authors are the same of have the same views on society, but I’m very happy to see that the authors I picked for this analysis haven’t dissapointed me.


The Female Rogue


I’m only doing this paragraph because even though the sexism I found while reading was sparse, it existed. I’m writing this to sum up all the positive depictions of female rogues I got while reading.

The female rogue is every bit as skilled as the male one. There is no difference between the sexes. I’ve met tall, brutal killers and short sneaky assassins among the women in Rogue Fantasy stories. Just like their male counterparts. Badass female rogues are very common in todays Rogue Fantasy, which I think is epic.

One of the main characters in Scott Lynch’s 'Republic of Thieves’ is Sabetha Belacoros, a total criminal expert and con artist mastermind.

In 'Red Seas over Red Skies’, in the same book series, we meet the ruthless and widely feared pirate Drakasha, ruler of the Sea of Brass, and her swashbuckling sidekick Ezri.

In Brandon Sanderson’s 'The Final Empire’ (Mistborn series), there’s Vin, the assassin/crook who uses ancient metallurgic magic to gain superhuman powers as she helps ignite the flames of revolution in an autocratic country.

In 'Retribution Falls’ by Chris Wooding, we meet all sorts of steampunk pirate women. There’s the navigator Jez who is hiding a secret which has kept her running across the country for many many years. Most notable character in this entire book: Trinicka Dracken. Bounty hunter. Captain of a huge airship. Cold-blooded traitor and killer. Former lover of the main character. A great character!

Another character, this one from a non-Rogue Fantasy novel is the debt collector Devi from The Name of the Wind. She’s definitely malicious and tricky enough to earn an honorable mention in this list.



2: The Goal


Crooks want money. That’s common knowledge. Often, the goal of the Rogues in a story is a pile of gold, but like most fantasy heroes through ages of epic stories, many Rogues seek adventure. This is especially seen in Swashbuckler fantasy, closely related to Rogue fantasy.

But that adventure is often achieved on the road to that big pile of gold.


Most thieves become thieves because of two reasons: 1), They have no choice, or 2), they have a great greed for wealth and power, and achieving it the lawful way is too hard and takes too much time. To complete this goal of wealth and/or power (the two often come together), some things are essential. Brains are the number one components in the plan, second come nimble fingers for picking locks and cutting purses, muscles for breaking open doors and immobilizing guards and also, very important, cunning. The rogue must be able to think quickly, and act quicker. She needs to be able to make important decisions quickly and under pressure if the situation comes to that.


That’s why it’s important to the rogue to either be all of this things herself if she works alone, or assemble a trustworthy and qualified gang where everyone is assigned their role. Both work. Both have their pros and cons.


Back to the goal.


In many rogue fantasy books, the goal is achieved and the rogues live happily ever after (until someone catches them and they meet a swift end at the edge of an axe or a not so swift one at the end of a noose) but sometimes that goal can be quite nasty to reach. It may take a few books (or seven, as Scott Lynch allegedly plans for his Gentlemen Bastards) but at least in most completed Rogue Fantasy book that I have read, the main characters reach their goal and all is well. It takes a lot to write a story where the main characters fail their goal and still have readers praising the book.

3: The World


Just because I stated above that Rogue fantasy is built on character development doesn’t mean that the world is less important. For the story to be interesting and believable, the world has to be as well.


Rogue fantasy is incredibly adaptive. It can take place in an urban setting. It can be set in High Fantasy worlds like for example ”The Way of Shadows” by Brent Weeks. It can be set in a world historically similar to ours, like in ”The Lies of Locke Lamora” by Scott Lynch, where the world is similar to our own Rennaisance Venice.


I like to think that while High Fantasy worlds are vast and with many different countries and provinces, Rogue fantasy worlds are often smaller and more focused on a few places, usually. Of course, there are exceptions but the Rogue fantasy books that have really stood out to me and been the most enjoyable have been that way.


The rogue fantasy world is often somewhat evil. I don’t know if that’s the right word, but it certainly often has a dark undertone. I think it is there to amplify the dark theme of Rogues and crime, and Victorian Steampunk is a classic theme for these stories.

For example, not that the Sherlock Holmes stories are thief stories – it’s the other way around, but they’re criminal stories set in a kind of dark Victorian england. That kind of world is perfect for rogue fantasy, as seen in the video game Dishonored, where one plays an assassin in a huge steampunk city.


But as I said, High Fantasy worlds suit Rogue Fantasy perfectly. This is seen in Swashbuckler fantasy stories for example, like ”The Princess Bride” and even sometimes, although the world is darker and grimier, in Brandon Sanderson’s ”The Final Empire”.


The world plays a great role in Rogue Fantasy. The character is the main element, while in High Fantasy, the worldbuilding is key, more often than not. But for the story to be alive and functioning, emulating a living society where the Rogues do their play, the world has to be seamless. Who lives in that huge city where the thieves roam at night? Who’s that baker and what’s he hiding in his basement? That rich aristocrat in the fancier neighbourhood, I heard he’s got a stash of gems that could easily be lifted with a little tricking. People play huge roles in fantasy stories. Where they would usually be more ”good” in stories like ”The Hobbit”, they might be more cynical, ”evil” or otherwise wicked in some way. This is especially seen in the High Fantasy series ”A world of Ice and Fire”. That kind of world, like in Martin’s novels, fit Rogue Fantasy extremely well.


A hostile world is a perfect environment for Rogues.


The world has to be functioning like our own in order to achieve as good a story as possible. I’m not saying everyone has to do that, I’ve read stories where the world isn’t really that well-crafted and unique but the story hasn’t suffered from it at all.


Other than those few points like darker undertone and ”strange” people, a Rogue Fantasy world could be just like any other fantasy world.


Summary: Rogues are awesome and Rogue fantasy is the best thing for rainy days, best enjoyed with chocolate and a cup of tea. (based on personal experience)

undertalefan10  asked:

What gave you the idea of naming him Epic? And why the colour purple for his eye and why the word "Bruh"?

Because EPIC genre is my favorite thing in anime


And


I liek purple

Also

Because of poodiepie

He says BRUH sometimes one of his gameplays


I luv him

≧▽≦

The Zodiac Signs as Literary Genres
  • Aries: Epic Fantasy
  • Taurus: Paranormal Romance
  • Gemini: Dystopian Fiction
  • Cancer: Southern Gothic
  • Leo: Steampunk
  • Virgo: Fantastic Noir (Occult Detective)
  • Libra: Alternate History (Gaslamp)
  • Scorpio: Post Apocalypse
  • Sagittarius: Horror Fantasy
  • Capricorn: Weird Western Fiction
  • Aquarius: Science Fiction
  • Pisces: Urban Fantasy
youtube

If you like some epic rock genre accompanied by violin and piano, here’s my recommendation. Hail Muryoku-P.


Sorry if I can’t draw for now, my hands still hurt from doing pretty hard house chores. I’ve been repeating this album for hours.

Wish me luck to draw back again. ;’) Maybe after I draw back again, I might draw something inspired to these songs in the album I shared.

Thank you for reading~

On Tolkien, alignment, and shadows

[Tolkien’s] villains are orcs and Black Riders (goblins and zombies: mythic figures) and Sauron, the Dark Lord, who is never seen and has no suggestion of humanity about him. These are not evil men, but the embodiments of evil in men, universal symbols of the hateful. The men who do wrong are not complete figures, but complements: Saruman is Gandal’s dark-self, Boromir Aragorn’s; Wormtonge is, almost literally, the weakness of King Théoden. There remains the wonderfully repulsive and degraded Gollum. But nobody who reads the trilogy hates, or is asked to hate, Gollum. Gollum is Frodo’s shadow; and it is the shadow, not the hero, who achieves the quest. Though Tolkien seems to project evil into ‘the others,’ they are not truly others but ourselves; he is utterly clear about this.

~ Ursula K. Le Guin, “The Child and the Shadow”

This wonderful quote is actually relevant to the concept of alignment and, IMHO, the epic fail thereof where evil races are concerned. When they are essentially symbols, creatures of myth, or reflections of ourselves and our dark side, it’s absolutely fine to portray them summarily as evil. (Example: red dragons, unnamed goblins in a dungeoncrawl).

But when the game ventures beyond mindless hack-and-slash, the orc becomes an actual character, an individual. And when the lens focuses even a little on goblins as a humanoid society, who raid and pillage (like humans do…), but also try to raise their young, and survive, and expand - then what exactly differentiates them from the barbarian’s own tribe? You know, the one inspired by Vikings, which may occasionally be described as “savage” but never as inherently evil?

Nothing at all, other than the fact that Vikings are “cool”, while goblins have green skin and fangs and we don’t. But once you take a good look at evil races, they are not symbols anymore. They’re people. People branded with the mark of Cain just so that adventurers can kill them with a crystal clear conscience, and no consequences whatsoever. How… barbaric.


And then there’s this line: it is the shadow, not the hero, who achieves the quest.

This is one of the crucial unconventional elements that Tolkien inserted in an otherwise conventional story. You don’t see that every day, do you? And if you take out these elements, what’s left is rather bland, to be honest. For example, imagine someone like Aragorn being the ringbearer, the Chosen Hero of Royal Lineage instead of the everyman that Frodo is. How boring that would be…

(Sadly, some of Tolkien’s imitators missed all that, and that’s how we ended up with that soup of epic fantasy genre, worthy of deconstruction only. But that’s another discussion.)

P.S. Ursula Le Guin is, of course, a literary giant, and her science fiction and fantasy works need no introduction. But she’s also a fantastic critic, and often comments on the genre with tremendous wit and insight. I heartily recommend The Language of the Night: Essays on Fantasy and Science Fiction.

[quote highlighted by samdodsworth]

Hedy Lamarr
Allison Stock
Hedy Lamarr

HEDY LAMARR // this song is about giving up on your dreams to pursue… your other dreams. I am going to write something more verbose about this song in the morning. But that sums it up pretty well for now. So much love to everyone who worked on this song with me, it’s been such an inspiring, inspirational and exciting process, and I’m so thrilled to be part of it.

lyrics by cleanwhiteroom

mixed and master by elementals

music and vocals by me

art by littletinheart

The story is this: cleanwhiteroom wrote Designations Congruent With Things, wherein it is mentioned that Newton Geiszler has a band. This songwriting collaboration began as a way to give life to the songs of The Superconducting Supercolliders, said fictional band that is becoming realer every day.

youtube

“The War of 1996″ - A United World News Special [source]

The world has changed, and so have we.  See how far Earth has come since the War of 1996, in this special report from UWN.

We always knew they were coming back.  After INDEPENDENCE DAY redefined the event movie genre, the next epic chapter delivers global spectacle on an unimaginable scale.  Using recovered alien technology, the nations of Earth have collaborated on an immense defense program to protect the planet.  But nothing can prepare us for the aliens’ advanced and unprecedented force.  Only the ingenuity of a few brave men and women can bring our world back from the brink of extinction.

INDEPENDENCE DAY: RESURGENCE - In Theaters June 24, 2016

I’d expected running parts of the original film through a filter to make them look like actual “footage” taken in 1996.  I did not expect stock footage of actual world leaders repurposed into this alternate history.

after watching the trailer of s3 i have this feeling that everything is going to be… sadder. i mean, the trailers of the previous seasons were more on a “epic” genre, while this time…. the background music was so heartbreaking… and most of the scenes were about devastation, defeat, sadness…. i think we’re going to cry a lot

anonymous asked:

Hello! I've been thinking about writing a story that includes magic and weaponry (I have the characters and scenes kind of floating about in my head) but when I try to put it in a genre, it seems that it fits in medieval fantasy, and I'm not too familiar writing such a genre. What should I do?

You only have to worry about genre when you’re trying to write a smaller, more specific genre (such as steampunk) or when you’re trying to sell your story.

Don’t worry what genre it is right now. If you do want to write a medieval fantasy, you’ll have to research the time period and culture you’re writing about (even if you make up a place you’ll have to research some stuff) and read a lot of medieval fantasy.

However, here is a list of fantasy genres (keep in mind that many fantasy novels can fit into more than one category):

  • Alternate World: A setting that is not our world, but may be similar. This can include a character traveling to another world or a setting that is simply an alternate version of ours.
  • Arabian: Fantasy that is based in or on the Middle East and North Africa. This also includes folk tales and epic poems, which make up the majority of this genre.
  • Arthurian: Set in Camelot (most of the time) and deals with Arthurian mythology and legends.
  • Celtic: Fantasy that is based on the Celtic people and culture, most often post La Tene culture.
  • Christian: This genre has Christian themes and elements alongside fantasy elements.
  • Classical: Based on Roman and Greek myths. Sometimes it includes Kemetism.
  • Contemporary/Modern: This genre takes place in modern society in which paranormal and magical creatures live among us. An example would be the Harry Potter series.
  • Dark: This genre combines fantasy and horror elements. The tone or feel of dark fantasy is often gloomy, bleak, and gothic.
  • Epic: This genre is long and, as the name says, epic. Epic is similar to high fantasy, but has more importance, meaning, or depth. Epic fantasy is most often in a medieval setting.
  • Gaslamp: Also known as gaslight, this genre has a Victorian or Edwardian setting.
  • Gunpowder: Gunpowder crosses epic or high fantasy with “rifles and railroads”, but the technology remains realistic unlike the similar genre of steampunk. It’s like putting elves on a pirate ship or putting werewolves in the Wild West.
  • Heroic: Centers on one or more heroes who start out as humble, unlikely heroes thrown into a plot that challenges them.
  • High: This is considered the “classic” fantasy genre. High fantasy contains the general fantasy elements and is set in a fictional world. It is often heroic or epic as well.
  • Historical: The setting in this genre is any time period within our world that has fantasy elements added.
  • Medieval: Typically set in Europe during the early to late middle ages.
  • Mythic: Fantasy involving or based on myths, folklore, and fairy tales.
  • Paranormal/Supernatural: Involves supernatural and paranormal creatures as the source of fantasy, such as werewolves, vampires, and ghosts. Romance is often present.
  • Portal: Involves a portal, doorway, or other entryway that leads the protagonist from the “normal world” to the “magical world”.
  • Quest: As the name suggests, the protagonist in this genre sets out on a quest. The protagonist most frequently searches for an object of importance and returns home with it or with a prize.
  • Science Fantasy: A genre that combines science fiction and fantasy. An example is Star Wars.
  • Sword and Sorcery: Settings in which the characters use swords and engage in action-packed plots. Magic is also an element, as is romance. These can be set in many time periods.
  • Sword and Soul: Similar to Sword and Sorcery and heroic fantasy, but African-inspired. However, the genre is spreading to other subgenres of fantasy.
  • Urban: Has a modern or urban setting in which magic and paranormal creatures exist, often in secret. It also has elements of horror.
  • Wuxia: A genre in which the protagonist learns a martial art and follows a code. This genre is popular in Chinese speaking areas.

misselizabeth530  asked:

Do you have any book recs for the fantasy genre? (specifically epic fantasy and high fantasy?)

I tend not to read a lot of fantasy books that would qualify as “epic” or “high” fantasy because I tend to find them a bit dense, but if you look through my “adult fantasy,” “ya fantasy,” and “fantasy” tags, you’ll probably find some options!

I recently read “The Name of the Wind” by Patrick Rothfuss, which seems to be the sort of thing you’re looking for.