Showing posts with label magic. Show all posts
Showing posts with label magic. Show all posts

Sunday, October 7, 2012

Particle AND Wave

A little complementarity on Niels Bohr's birthday...


The walls between science fiction and fantasy are breaking down. Back in the day, it was either Tolkien or Heinlein. Not only was fantasy non-technological, it was almost always pre-technological. Horses, not cars; swords, not guns. Even fantasy ostensibly set in the modern world would often wend its way to a secondary world - through a wardrobe, for instance - where technology simply wasn't.

Then came wainscoting (which I've mentioned before) where magic does exist in the here and now, but is carefully hidden away from ordinary muggles...er, mortals. Obviously, the magic's hidden away in Harry Potter, but Rowling was far from the first to use the wainscot. Any pre-True Blood vampire story, for instance, has the undead hidden away. The Borrowers is classic wainscot. [Decades later, wainscoting is still going strong. Percy Jackson, Neverwhere, Highlander. Tim Powers turned history into wainscot fantasy with masterpieces like The Stress of Her Regard and On Stranger Tides.]  Fantasy and science fiction edged closer and closer. 

And then came the '60s. "Any sufficiently advanced technology is indistinguishable from magic," said Arthur C. Clarke. And in the '60s, writers like Michael Moorcock and Jack Chalker took him at his word, creating futures whose inhabitants no longer understood the forces that gave them their magical powers. But there was one writer who followed that avenue while delineating the philosophical difference: Roger Zelazny.

He created worlds full of characters who were literally deii ex machina - people with godlike powers granted by technology; so godlike, in fact, that they assumed the identities of the Hindu, Egyptian (and even alien) pantheons. But even while he was doing this, Roger never lost site of the border:

"It is the difference between the unknown and the unknowable, between science and fantasy – it is a matter of essence. The four points of the compass be logic, knowledge, wisdom and the unknown. Some do bow in that final direction. Others advance upon it. To bow before the one is to lose sight of the three. I may submit to the unknown, but never to the unknowable. The man who bows in that final direction is either a saint or a fool."  (Lord of Light)

Science and magic, SF and fantasy, reason and the unknowable, particle and wave - complementarity. The next big step in fantasy is bridging the gap, writing science and magic in the same story at the same time.

Wednesday, August 1, 2012

Why Joss Whedon Is Awesome and I Liebehassen Him

Hate/love - when someone is so damned good that you hate him for being better than you even while you love what he does. It's an emotion common among creative types and athletes. I felt it for Neil Gaiman when he was writing The Sandman. And of course, I feel it for Joss Whedon.

Okay, so we all know Joss is awesome. But let's dissect this for a moment. Forget about him inventing two whole new kinds of dialogue (Buffyspeak and Firefly), or reintroducing gunpowder and horses to space opera. Let's go almost all the way back, to when Buffy was a mid-season replacement that was supposed to flicker and vanish; instead it grabbed hold of people's eyeballs and wouldn't let go. Why? Metaphor, metaphor, metaphor.

Tuesday, June 5, 2012

Another Example of "Magic as Metaphor"


One of Robert Heinlein's lesser-known stories, Magic, IncMagic as Main Street business operations. (In fact, you could make a good case for this being the earliest "contemporary fantasy" story. Once again, RAH gets there first...)

Fun!

Friday, June 1, 2012

Tricks of the Trade - Magical Thinking

If you want to make magic seem real, try making it seem other.

When it comes to creating a universe, magic is a pain. It suffers from a reality gap that doesn't afflict geography, economics, or any of the other world-building disciplines. If your alternate world cries out for verisimilitude in politics, weather patterns, or zoology, you can fall back on thousands of real-world examples; not so in magic.

Saturday, February 4, 2012

Powerful and Limited

That's best kind of magic. Powerful because, well, power is cool; and limited because the more restrictions there are on it, the more interesting magic becomes.

Ursula LeGuin's Earthsea trilogy is still the peak of magic in fantasy, because her system was both powerful (magicians could do just about anything) and limited (everything was bound by two great rules).  In Roger Zelazny's underappreciated Jack of Shadows, the Powers are only great within their own domains; and the nightsiders pay for their immortality by being soulless.

For every advantage, a disadvantage. Nihil gratis.