Fantasy world
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A fantasy world or fictional world is a world created for fictional media, such as literature, film or games. Typical fantasy worlds feature magical abilities. Some worlds may be a
Many fantasy worlds draw heavily on real world history, geography, sociology, mythology, and folklore.
Plot function
The setting of a fantasy work is often of great importance to the plot and characters of the story. The setting itself can be imperiled by the evil of the story, suffer a calamity, and be restored by the transformation the story brings about.[2] Stories that use the setting as merely a backdrop for the story have been criticized for their failure to use it fully.[3]
Even when the land itself is not in danger, it is often used symbolically, for thematic purposes, and to underscore moods.[4] For readers, fantasy worlds offer a "place...[where] assumptions and desires [about the genre] are confirmed" and emotional satisfaction that comes from various elements of the world fulfill readers' expectations for quality.[5]
History
Early fantasy worlds appeared as fantasy lands, part of the same planet but separated by geographical barriers. For example, Oz, though a fantasy world in every way, is described as part of this world.[6]
Although medieval peasants who seldom if ever traveled far from their villages could not conclusively say that it was impossible that, for example, an ogre could live a day's travel away, distant continents were necessary from the Renaissance onwards for such fantastic speculation to be plausible, until finally, further exploration rendered all such terrestrial fantasy lands implausible.[7]
Even within the span of mere decades, Oz, which had been situated in a desert in the United States when first written about in 1900,[6] was relocated to a spot in the Pacific Ocean.[8]
An early example of the fantasy land/world concept can be seen in the One Thousand and One Nights (Arabian Nights), where places of which little was known, but where the occurrence of marvels was thus more credible, had to be set "long ago" or "far away". This is a process that continues and finally culminates in the fantasy world having little connection, if any, to actual times and places.[9] A more recent example of a fantasy land with definite connections to the actual world is Austin Tappan Wright's Islandia. Islandia's remoteness and aura of mystery, as well as its preservation of an arcadian society, are explained by means of a law that allows only limited contact with foreigners.
This change is part of a general trend toward more self-consistent and substantive fantasy worlds.[12] This has also altered the nature of the plots; earlier works often feature a solitary individual whose adventures in the fantasy world are of personal significance, and where the world clearly exists to give scope to these adventures, and later works more often feature characters in a social web, where their actions are to save the world and those in it from peril.[13]
Common elements
The most common fantasy world is one based on medieval Europe, and has been since
Careful world-building plus meticulous attention to detail is often cited as the reason why certain fantasy works are deeply convincing and contain a magical sense of place.[18] Heavy and faithful use of real-world setting for inspiration, as in
Conversely, the creation by an author of an imaginary country—such as Ruritania or Graustark—does not automatically transform that imaginary country into a fantasy world, even if the location would be impossible in reality owing to a lack of land to contain it; but such Ruritanian romances may be pushed toward the category of fantasy worlds by the introduction of figures such as witches and wise women, where it is not clear if their magic is effectual.[19]
According to Lin Carter in
Constructed worlds
Fantasy worlds created through a process called
Despite the use of magic or other fantastic elements such as dragons, the world is normally presented as one that would function normally, one in which people could actually live, making economic, historical, and ecological sense. It is considered a flaw to have, for example, pirates living in lands far from trade routes, or to assign prices for a night's stay in an inn that would equate to several years’ income.
Furthermore, the fantastic elements should ideally operate according to self-consistent rules of their own; for example, if wizards' spells sap their strength, a wizard who does not appear to suffer this must either be putting up a facade or have an alternative explanation. This distinguishes fantasy worlds from Surrealism and even from such dream worlds as are found in Alice's Adventures in Wonderland and Through the Looking-Glass.
Examples
- L. Frank Baum created the Land of Oz for his novel The Wonderful Wizard of Oz and its original sequels. He was one of the few authors before Tolkien to use consistent internal geographies and histories to enrich his world.
- C. S. Lewis, author of The Chronicles of Narnia, set that series' novels mostly in a magical land called Narnia. Lewis was a colleague of Tolkien, and their fictional worlds share several key elements.
- Terry Pratchett created Discworld, a large disc resting on the backs of four huge elephants, which are in turn standing on the back of an enormous turtle, as it slowly swims through space.
- J. R. R. Tolkien created Middle-earth, a famous fantasy world. He introduced several revolutionary concepts to fantasy fiction and popularized the idea of intricately detailed fantasy worlds. He wrote at some length about the process, which he called "sub-creation". Middle-earth is intended to be Earth's Old World in a fictional ancient era.
- George R. R. Martin created a fictional world for his novel series A Song of Ice and Fire. Martin said in 2003 that complete world maps were deliberately not made available so that readers may better identify with people of the real Middle Ages who were unilluminated about distant places. Most of the story is set in the western continent of Westeros, though some are set in the Eastern continent Essos. The Southern continent of Sothoryos is also shown on maps, with a possible fourth continent, Ulthos, to its East. A map of the world is shown in the title sequence of the HBO TV adaptation, Game of Thrones.
- unnamed fictional world for his opus magnum The Wheel of Time.
Due to the fuzzy boundary between fantasy and
Fairytale and comic fantasy
Retreat of magic
Rather than creating their own fantasy world, many authors choose to set their novels in Earth's past. In order to explain the absence of miraculous elements, authors may introduce "a retreat of magic" (sometimes called "thinning") that explains why the
Role-playing games
Dungeons & Dragons, the first major role-playing game, has created several detailed and commercially successful fantasy worlds (called "campaign settings"), with established characters, locations, histories, and sociologies. The Forgotten Realms is perhaps the most extensively developed of these worlds.
See also
- List of fantasy worlds
- List of fictional universes
- Mythopoeia
- Paracosm
- Worldbuilding
Notes
- ISBN 0-312-19869-8
- ISBN 0-312-19869-8
- ISBN 0-312-19869-8
- ISBN 1-932265-07-4
- ISBN 978-0-312-47200-9.
- ^ ISBN 0-312-19869-8
- ISBN 0-15-667897-7
- ISBN 0-517-50086-8
- ISBN 0-312-19869-8
- ISBN 0-517-50086-8
- ^ J.R.R. Tolkien, "On Fairy-Stories", p. 14, The Tolkien Reader, Ballantine Books, New York 1966
- ISBN 0-268-00790-X
- ISBN 0-268-00790-X
- ISBN 0-689-10846-X
- ^ John Grant, "Gulliver Unravels: Generic Fantasy and the Loss of Subversion"
- ^ Alec Austin, "Quality in Epic Fantasy" Archived 2014-08-08 at the Wayback Machine
- ISBN 0-312-85175-8
- ISBN 0-87116-195-8
- ISBN 0-87054-076-9
- ^ Carter, Lin, Imaginary Worlds, the Art of Fantasy. Ballantine, 1973.
- ISBN 0-253-35665-2
- ISBN 0-312-19869-8
References
- Poul Anderson, "On Thud and Blunder"
- The Tough Guide To Fantasylandexplains and parodies the common features of a standard fantasy world
- Patricia C. Wrede, "Fantasy Worldbuilding Questions"
External links
- Bardic Web - A community for writers collaborating on original speculative and non-speculative fiction, worldbuilding, mythos creation, and character development. No fanfic.
- The Santharian Dream - Creative, the cooperative fantasy world-building in the style of J.R.R. Tolkien. An epic, constantly evolving fantasy world on the web since 1998.