Fantasy trope

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Sigmund holding the magic sword Nothung in an Arthur Rackham illustration of Richard Wagner's Die Walkure. Magic swords are a common fantasy trope. Ring21.jpg
Sigmund holding the magic sword Nothung in an Arthur Rackham illustration of Richard Wagner's Die Walküre . Magic swords are a common fantasy trope.

A Fantasy trope is a specific type of literary tropes (recurring themes) that occurs in fantasy fiction. Worldbuilding, plot, and characterization have many common conventions, many of them having ultimately originated in myth and folklore. J. R. R. Tolkien's legendarium (and in particular, The Lord of the Rings ) for example, was inspired from a variety of different sources including Germanic, Finnish, Greek, Celtic and Slavic myths. Literary fantasy works operate using these tropes, while others use them in a revisionist manner, making the tropes over for various reasons such as for comic effect, and to create something fresh (a method that often generates new clichés). [1]

Contents

Good vs. evil

The conflict of good against evil is a theme in the many popular forms of fantasy; normally, evil characters invade and disrupt the good characters' lands. [2] J. R. R. Tolkien delved into the nature of good and evil in The Lord of the Rings , but many of those who followed him use the conflict as a plot device, and often do not distinguish the sides by their behavior. [3] In some works, most notably in sword and sorcery, evil is not opposed by the unambiguously good but by the morally unreliable. [4]

Hero

Heroic characters are a mainstay of fantasy, particularly high fantasy and sword and sorcery.[ citation needed ] Such characters are capable of more than ordinary behavior, physically, morally, or both. [5] Sometimes they might have to grow into the role ordained for them. [6] This may take the form of maturation, [7] which is often through Coming of Age.

Many protagonists are, unknown to themselves, of royal blood.[ citation needed ] Even in so fanciful a tale as Through the Looking-Glass , Alice is made a queen in the end; this can serve as a symbolic recognition of the hero's inner worth. [8] Commonly, these tales revolve around the maltreated hero coming into his or her own. This can reflect a wish-fulfillment dream, or symbolically embody a profound transformation. [9]

Dark Lord

The forces of evil are often personified in a "Dark Lord". Besides possessing vast magical abilities, a Dark Lord often controls great armies and can be portrayed as possessing devil-like qualities. [10] A Dark Lord is usually depicted as the ultimate personification of evil.[ citation needed ]

Notable Dark Lords
NameSource
Sauron The Lord of the Rings
Thulsa Doom archenemy of Conan the Barbarian
the Dark One (Shai'tan) The Wheel of Time
Sith Lords Star Wars
Lord Voldemort Harry Potter
the Skeksis The Dark Crystal
Darkseid DC Comics
Thanos Marvel Comics
Mundusthe Devil May Cry video game series
Dracula the Castlevania series
Skeletor Masters of the Universe
Morgoth The Silmarillion
Arawn Death-Lord The Chronicles of Prydain
Torak The Belgariad
Nightmare Soulcalibur
Ganon The Legend of Zelda
Exdeath Final Fantasy V
Galbatorix The Inheritance Cycle

The villain of the Demon Sword video game is also literally called Dark Lord.

In the Lone Wolf gamebooks, the Dark Lords are a race of powerful evil beings. [11] The protagonists of the Overlord video game franchise are classic Dark Lords in the vein of Sauron. The Dark Lord is usually seen as unmarried, though there has been the occasion when one has attempted to claim a bride.

Quest

Quests, an immemorial trope in literature, are common in fantasy. They can be anything from a quest to locate the MacGuffins necessary to save the world, to an internal quest of self-realization. [12]

Magic

In fantasy, magic often has an overwhelming presence, although its precise nature is delineated in the book in which it appears. It can appear in a fantasy world (as in The Lord of the Rings or Shannara ), or in a fantasy land that is part of reality but insulated from the mundane lands (as in Xanth), or as a hidden element in real life (as in The Dresden Files). [13]

A common trope is that magical ability is innate and rare. As such, magic-wielding people are common figures in fantasy. [14] Another feature is the magic item, which can endow characters with magical abilities or enhance the abilities of the innately powerful. Among the most common are magic swords and magic rings.

Self-fulfilling prophecies are amongst the most common forms of magic because they are an often used plot device. Often the effort undertaken to avert them brings them about, thus driving the story. It is very rare for a prophecy in a fantasy to be false, although usually, their significance is only clear with hindsight. Quibbles can undermine the clearest appearing prophecies. [15]

In The Lord of the Rings, J. R. R. Tolkien minimized the use of the word 'magic'; beings who use such abilities tend to be confused when they are described this way by others.

Science fantasy stories often make use of scientifically implausible powers similar to magic, such as psychics. [16] However, unlike true science fiction works, these powers are used in a pulp manner with no examination of their effects on society, only to create more spectacular effects than science fiction alone can provide. [16] An example of this is the use of the Force by the Jedi in the Star Wars franchise. [17]

Medievalism

Many fantasy creatures are inspired by European folklore and the romances of medieval Europe. Dragons and unicorns are among the most popular creatures. Other monsters, such as griffins, giants, and goblins also appear. Races of intelligent beings such as elves, dwarves, and gnomes often draw their history from medieval or pre-Christian roots. Characteristics of the hero and heroine also frequently draw on these sources as well.

This trope is also very important in the setting of many of these fantasies. Writers from the beginnings of the fantasy genre, such as William Morris in The Well at the World's End and Lord Dunsany in The King of Elfland's Daughter , set their tales in fantasy worlds clearly derived from medieval sources; though often filtered through later views. J. R. R. Tolkien set the type even more clearly for high fantasy, which is normally based in such a "pseudo-medieval" setting. Other fantasy writers have emulated him, and role-playing and computer games have also taken up this tradition.

The full width of the medieval era is seldom drawn upon. Governments, for instance, tend to be feudalistic, corrupt empires despite the greater variety of the actual Middle Ages. [18] Settings also tend to be medieval in economy, with many fantasy worlds disproportionately pastoral. [19]

These settings are typical of epic fantasy and, to a lesser extent, of sword and sorcery — which contains more urban settings — than of fantasy in general; the preponderance of epic fantasy in the genre has made them fantasy commonplaces. They are less typical of contemporary fantasy, especially urban fantasy.

Ancient world

A less common inspiration is the ancient world. A famous example is the Hyborian Age (the fictional world of Conan the Barbarian ), which features analogues of Ancient Egypt, Mesopotamia, and the Roman Empire, among others. Three notable recent series with such settings are: Bartimaeus by Jonathan Stroud, Percy Jackson & the Olympians and The Heroes of Olympus by Rick Riordan.

Races and species

A size comparison of some of the more common fantasy races. Fantasy races size comparison chart.png
A size comparison of some of the more common fantasy races.

Many fantasy stories and worlds refer to their main sapient humanoid creatures as races, rather than species in order to distinguish them from non-sapient creatures. [20] J. R. R. Tolkien popularized the usage of the term in this context, in his legendarium (and particularly in The Lord of the Rings ), and the use of races in the Dungeons & Dragons role-playing games further spread the label. [21] Many fantasy and science fiction settings now use the terms race and species interchangeably, such as the World of Warcraft computer game.

In role-playing games, race typically refers to any sapient species usable as a player character. Older editions of Dungeons & Dragons called the primary non-human player races (dwarf, elf, gnome, halfling, and half-elf, half-orc) "demi-humans." Later games such as Shadowrun use the term "metahuman," and define these humanoid races as subdivisions of "Homo sapiens."

See also

Related Research Articles

<span class="mw-page-title-main">Fantasy film</span> Film genre

Fantasy films are films that belong to the fantasy genre with fantastic themes, usually magic, supernatural events, mythology, folklore, or exotic fantasy worlds. The genre is considered a form of speculative fiction alongside science fiction films and horror films, although the genres do overlap. Fantasy films often have an element of magic, myth, wonder, escapism, and the extraordinary.

High fantasy, or epic fantasy, is a subgenre of fantasy defined by the epic nature of its setting or by the epic stature of its characters, themes, or plot. High fantasy is set in an alternative, fictional ("secondary") world, rather than the "real" or "primary" world. This secondary world is usually internally consistent, but its rules differ from those of the primary world. By contrast, low fantasy is characterized by being set on Earth, the primary or real world, or a rational and familiar fictional world with the inclusion of magical elements.

<span class="mw-page-title-main">Sword and sorcery</span> Genre of fantasy fiction

Sword and sorcery (S&S) or heroic fantasy is a subgenre of fantasy characterized by sword-wielding heroes engaged in exciting and violent adventures. Elements of romance, magic, and the supernatural are also often present. Unlike works of high fantasy, the tales, though dramatic, focus on personal battles rather than world-endangering matters. Sword and sorcery commonly overlaps with heroic fantasy. The genre originated from the early-1930s works of Robert E. Howard. The term "sword and sorcery" was coined by Fritz Leiber In the May 1961 issue of the fantasy fanzine Amra, to describe Howard and the stories that were influenced by his works. In parallel with "sword and sorcery", the term "heroic fantasy" is used, although it is a more loosely defined genre.

<span class="mw-page-title-main">Fantasy world</span> Imaginary world created for fictional media

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 parallel world connected to Earth via magical portals or items ; an imaginary universe hidden within ours ; a fictional Earth set in the remote past or future ; an alternative version of our History ; or an entirely independent world set in another part of the universe.

Elendor is a free online text-based multi-user game that simulates the environment of J. R. R. Tolkien's Middle-earth. Users create characters by determining species, sex, culture, description, history and then role-playing with other users within the setting and atmosphere of Tolkien's world. For the purposes of consistency, the game accepts The Lord of the Rings, The Hobbit and The Silmarillion and to a lesser extent the other works of Tolkien as canonical materials. The time frame is shortly before the onset of the main events of The Lord of the Rings with Bilbo having gone to Rivendell. The game is run on a MUSH server using a variant of PennMUSH.

<span class="mw-page-title-main">Halfling</span> Fictional race appearing in many fantasy works

Halflings are a fictional race found in some fantasy novels and games. They are often depicted as similar to humans except about half as tall, and are not quite as stocky as the similarly sized dwarves. Similar to the depiction of hobbits in the works of J. R. R. Tolkien, which are sometimes called halflings, they have slightly pointed ears, their feet are covered with curly hair with leathery soles, and they tend to be portrayed as stealthy and lucky.

<span class="mw-page-title-main">Campaign setting</span> Fictional environment setting for a role-playing game

A campaign setting is usually a fictional world which serves as a setting for a role-playing game or wargame campaign. A campaign is a series of individual adventures, and a campaign setting is the world in which such adventures and campaigns take place. Usually a campaign setting is designed for a specific game or a specific genre of game. There are numerous campaign settings available both in print and online. In addition to published campaign settings available for purchase, many game masters create their own settings, often referred to as "homebrew" settings or worlds.

<span class="mw-page-title-main">Historical fantasy</span> Genre of fiction

Historical fantasy is a category of fantasy and genre of historical fiction that incorporates fantastic elements into a more "realistic" narrative. There is much crossover with other subgenres of fantasy; those classed as Arthurian, Celtic, or Dark Ages could just as easily be placed in historical fantasy. Stories fitting this classification generally take place prior to the 20th century.

<i>The Sword of Shannara</i> 1977 novel by Terry Brooks

The Sword of Shannara is a 1977 epic fantasy novel by American writer Terry Brooks. It is the first book in a titular trilogy.

<span class="mw-page-title-main">Fantasy literature</span> Literature set in an imaginary universe

Fantasy literature is literature set in an imaginary universe, often but not always without any locations, events, or people from the real world. Magic, the supernatural and magical creatures are common in many of these imaginary worlds. Fantasy literature may be directed at both children and adults.

<span class="mw-page-title-main">Elves in fiction</span> Elves appearing in works of fiction

In many works of modern fantasy, elves are depicted as a race or species of pointy-eared humanoid beings. These depictions arise from the álfar of Norse mythology influencing elves in fantasy as being semi-divine and of human stature, whose key traits are being friendly with nature and animals. However, this differs from Norse and the traditional elves found in Middle Ages folklore and Victorian era literature.

<span class="mw-page-title-main">History of fantasy</span>

Elements of the supernatural and the fantastic were an element of literature from its beginning. The modern genre is distinguished from tales and folklore which contain fantastic elements, first by the acknowledged fictitious nature of the work, and second by the naming of an author. Works in which the marvels were not necessarily believed, or only half-believed, such as the European romances of chivalry and the tales of the Arabian Nights, slowly evolved into works with such traits. Authors like George MacDonald (1824–1905) created the first explicitly fantastic works.

Worldbuilding is the process of constructing a world, originally an imaginary one, sometimes associated with a fictional universe. Developing an imaginary setting with coherent qualities such as a history, geography, and ecology is a key task for many science fiction or fantasy writers. Worldbuilding often involves the creation of geography, a backstory, flora, fauna, inhabitants, technology and often if writing speculative fiction, different races. This may include social customs as well as invented languages for the world.

<span class="mw-page-title-main">Magician (fantasy)</span> Magicians appearing in fantasy fiction

A magician, also known as an archmage, mage, magus, magic-user, spellcaster, enchanter/enchantress, sorcerer/sorceress, warlock, witch, or wizard, is someone who uses or practices magic derived from supernatural, occult, or arcane sources. Magicians enjoy a rich history in mythology, legends, fiction, and folklore, and are common figures in works of fantasy, such as fantasy literature and role-playing games.

<span class="mw-page-title-main">Early history of fantasy</span>

Elements of the supernatural and the fantastic were an element of literature from its beginning, though the idea of a distinct genre, in the modern sense, is less than two centuries old.

An orc, in J. R. R. Tolkien's Middle-earth fantasy fiction, is a race of humanoid monsters, which he also calls "goblin".

<span class="mw-page-title-main">Fantasy</span> Artistic genre

Fantasy is a genre of speculative fiction involving magical elements, typically set in a fictional universe and usually inspired by mythology or folklore. The term "fantasy" can also be used to describe a "work of this genre", usually literary.

In fiction and mythology, a dark lord is an antagonistic archetype, acting as the pinnacle of villainy and evil within a typically heroic narrative.

<span class="mw-page-title-main">Outline of fantasy</span> Overview of and topical guide to fantasy

The following outline is provided as an overview of and topical guide to fantasy:

<span class="mw-page-title-main">Tolkien's impact on fantasy</span> A fantasy authors effect on literary genre

J. R. R. Tolkien has been called the "father of fantasy". His novel The Lord of the Rings, published in 1954–5, enormously influenced fantasy writing, establishing in particular the form of high or epic fantasy, set in a secondary or fantasy world in an act of mythopoeia. The book was distinctive at the time for its considerable length, its "epic" feel with a cast of heroic characters, its wide geography, and its battles. It involved an extensive history behind the action, an impression of depth, multiple sentient races and monsters, and powerful talismans. The story is a quest, with multiple subplots. The novel's success demonstrated that the genre was commercially distinct and viable.

References

  1. Clute 1999, p. 810.
  2. "Top 10 Epic / High fantasy books". Fantasybookreview.co.uk. Archived from the original on 19 May 2014. Retrieved 13 May 2014.
  3. Clute 1999, p. 422.
  4. Clute 1999, p. 323.
  5. Clute 1999, p. 464.
  6. Clute 1999, p. 136.
  7. Clute 1999, p. 972.
  8. Prickett 1979, pp. 145–156.
  9. Clute 1999, p. 466.
  10. Clute 1999, p. 250.
  11. "The Darklords of Helgedad". The World of Magnamund Webring. Archived from the original on 5 June 2009. Retrieved 13 July 2009.
  12. Clute 1999, p. 796.
  13. Clute 1999, pp. 615–616.
  14. Clute 1999, p. 616.
  15. Clute 1999, p. 789.
  16. 1 2 Mann, George (2012). "The History and Origins of Science Fiction". The Mammoth Encyclopedia of Science Fiction. London: Constable & Robinson. ISBN   978-1780337043. OCLC   804664796.
  17. Sinclair, Frances (2008). Riveting Reads plus Fantasy Fiction. School Library Association. Wanborough, Swindon, UK: School Library Association. p. 88. ISBN   978-1903446461. OCLC   272332168.
  18. Hardinge, Frances. "Article: Quality in Epic Fantasy, by Alec Austin". Strangehorizons.com. Archived from the original on 8 August 2014. Retrieved 4 August 2014.
  19. Yolen 1992, p. VIII.
  20. Tresca 2010, p. 30.
  21. Livingstone 1982, p. 74.

Sources