1.
Fantasy literature
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Fantasy literature is the body of written works that employ the motifs, themes, and stylistic approaches expected in the fantasy genre. Historically, most works of fantasy were written pieces of literature, since the 1960s, a growing segment of the fantasy genre has taken the form of films, television programs, graphic novels, video games, music and painting. Stories involving paranormal magic and terrible monsters have existed in spoken forms before the advent of printed literature, homers Odyssey satisfies the definition of the fantasy genre with its magic, gods, heroes, adventures and monsters. Fantasy literature as a distinct type emerged in Victorian times, with the works of such as Mary Shelley, William Morris. J. R. R. Tolkien played a role in the popularization and accessibility of the fantasy genre with his highly successful publications The Hobbit. Rarely does one consider modern fantasy without conjuring the memory and image of Tolkien, Tolkien was largely influenced by an ancient body of Anglo-Saxon myths, particularly Beowulf, as well as modern works such as The Worm Ouroboros by E. R. Eddison. Tolkiens close friend C. S. Lewis, author of The Chronicles of Narnia, the tradition established by these predecessors of the late nineteenth and early twentieth centuries has continued to thrive and be adapted by new authors. Tolkiens fiction has—particularly over the genre of high fantasy—prompted backlash, at the turn of the millennium, the Harry Potter novels of J. K. Rowling achieved widespread popularity. R. Martin in 2005, and 2011, Neil Gaiman in 2005, authors often engage in worldbuilding, constructing a framework or entire world against which the narrative plays out. Symbolism often plays a significant role in literature, often through the use of archetypal figures inspired by earlier texts or folklore. Some argue that fantasy literature and its archetypes fulfill a function for individuals and society, le Guin, in her essay From Elfland to Poughkeepsie, presented the idea that language is the most crucial element of high fantasy, because it creates a sense of place. She analyzed the misuse of a formal, olden-day style, saying that it was a trap for fantasy writers because it was ridiculous when done wrong. Brian Peters writes that in various forms of fantasy, even the villains language might be inappropriate if vulgar. The fantastical details of the series fade away by the installment, revealing that the wizarding community of the Harry Potter books is just as bad, if not worse. Farah Mendlesohn argues the world of literature is broken up into four categories, the portal quest, the immersive, the intrusive. How the fantastic enters the world is what determines how a story fits into these categories. In a portal quest such as C. S. Lewis The Chronicles of Narnia, The Lion, The Witch, in the intrusion fantasies like Bram Stokers Dracula, the fantastic invades the fictional world. With liminal fantasy, for example Phillip Pullman’s His Dark Materials, The Subtle Knife, tolkiens The Hobbit for example, allows the reader no escape from the fantastic
Fantasy literature
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Fantasy
2.
The violet fairy book
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Andrew Langs Fairy Books are a series of twenty-five collections of true and fictional stories for children, published between 1889 and 1913. The best known books of the series are the collections of fairy tales. In all, the volumes feature 798 stories, besides the 153 poems in The Blue Poetry Book, Andrew Lang was a Scots poet, novelist, and literary critic. As acknowledged in the prefaces, although Lang himself made most of the selections, his wife, four of the later volumes were published as by Mrs. Lang. He is best recognized for the works he did not write, the twelve Coloured Fairy Books were illustrated by H. J. Ford, the first two volumes shared with G. P. Jacomb-Hood and Lancelot Speed respectively, the sequels alone. Several other volumes were illustrated by Ford, a. Wallis Mills also contributed some illustrations. The most well-known volumes of the series are the twelve Fairy Books, although Lang did not collect any fairy tales himself from oral primary sources, only he and Madame dAulnoy have collected tales from such a large variety of sources. These collections have been influential, Lang gave many of the tales their first appearance in English. As acknowledged in the prefaces, although Lang himself made most of the selections, his wife, Langs urge to gather and publish fairy tales was rooted in his own experience with the folk and fairy tales of his home territory along the English-Scottish border. At the time he worked, English fairy-tale collections were rare, over a generation, Langs books worked a revolution in this public perception. The series was popular, helped by Langs reputation as a folklorist. The series proved of great influence in literature, increasing the popularity of fairy tales over tales of real life. It inspired such imitators as English Fairy Tales and More English Fairy Tales by Joseph Jacobs, some of Langs collected stories were included without any attribution at all, and the rest are listed with brief notes. When this is Grimm or Madame dAulnoy or attributed to a collection, the stories can be tracked down. For instance, The Wonderful Birch is listed only as From the Russo-Karelian, J. R. R. Tolkien, in his essay On Fairy-Stories stated that while he appreciated the collections, he objected to his editing the stories for children. He also criticized Lang for including stories without magical elements in them, here, unlike The Giant Who Had No Heart in His Body or other similar stories, the monkey merely claims that his heart is outside his body. However, many fairy tale collectors include tales with no strictly marvelous elements, the first edition consisted of 5000 copies, which sold for 6 shillings each. The book assembled a range of tales, with seven from the Brothers Grimm, five from Madame dAulnoy
The violet fairy book
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Rumpelstiltskin from The Blue Fairy Book, by
Henry J. Ford
The violet fairy book
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"The Crown Returns to the Queen of the Fishes" Illustration by H. J. Ford for Andrew Lang's The Orange Fairy Book
The violet fairy book
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First edition, 1894
The violet fairy book
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First edition, 1900
3.
List of fantasy anime
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This is a list of fantasy anime television series, films, and OVAs. 3×3 Eyes 07-Ghost 10 Tokyo Warriors 11eyes Absolute Duo Ah My Buddha Air Ajin, akatsuki no Yona, Yona of the Dawn Akazukin Chacha Amatsuki Amon Saga The Ancient Magus Bride Angel Beats. Vanguard Ceres, Celestial Legend A Certain Magical Index Charlotte Children Who Chase Lost Voices Chrome Shelled Regios Clannad Claymore Creamy Mami, princess PreCure Grander Musashi Grimgar of Fantasy and Ash Ground Defense Force. Mao-chan Guilty Crown Guin Saga Haibane Renmei Hakushaku to Yōsei Hans Christian Andersens The Little Mermaid Happiness, inari, Konkon, Koi Iroha Inuyasha Inukami. Inu x Boku SS Is It Wrong to Try to Pick Up Girls in a Dungeon, Koi suru Tenshi Angelique KonoSuba Kuromajo-san ga Toru. Legend of Crystania Legendz Lilpri Little Busters, mahōjin Guru Guru Makai Senki Disgaea Mamotte. Lollipop Mamotte Shugogetten Maoyu MapleStory MÄR Maria the Virgin Witch Master of Epic, magister Negi Magi Neo Ranga Night Wizard. Nura, Rise of the Yokai Clan Nurse Witch Komugi No Game No Life Noragami Ōban Star-Racers Oh My Goddess, sisters of Wellber Slayers Smile PreCure. Angel Rabbie Tenkai Knights The Betrayal Knows My Name The Cat Returns The Cosmopolitan Prayers The Devil Is a Part-Timer, arc-V Yurikuma Arashi Yu Yu Hakusho Zatch Bell. Zenki Categories, Fantasy, magical girl, and supernatural anime and manga Bibliography Brenner, Robin E
List of fantasy anime
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Speculative fiction
4.
Fantastic art
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Fantastic art is a broad and loosely defined art genre. It is not restricted to a school of artists, geographical location or historical period. Fantasy has been a part of art since its beginnings. In French, the genre is called le fantastique, in English it is referred to as visionary art. It has had a deep and circular interaction with fantasy literature, the subject matter of Fantastic Art may resemble the product of hallucinations, and Fantastic artist Richard Dadd spent much of his life in mental institutions. Salvador Dalí famously said, the difference between me and a madman is that I am not mad. Some recent Fantastic Art draws on the experience, or purported experience. The term Fantasy Art is closely related, and is applied primarily to recent art inspired by, or illustrating, the term has acquired some pejorative overtones. Fantastic art has traditionally been confined to painting and illustration. Fantastic art explores fantasy, imagination, the state, the grotesque, visions. Genres which may also be considered as Fantastic Art include the Symbolism of the Victorian era, religious art also depicts supernatural or miraculous subjects in a naturalistic way, but is not generally regarded as Fantastic Art. Many artists have produced works which fit the definition of fantastic art, others again such as René Magritte are usually classed as Surrealists but use fantastic elements in their work. It is therefore impossible to give an exhaustive list of fantastic artists and this led to a movement of science fiction and fantasy artists prior to and during the Great Depression, as anthologised by Vincent Di Fate, himself a prolific SF and space artist. In the United States in the 1930s, a group of Wisconsin artists inspired by the Surrealist movement of Europe created their own brand of fantastic art. They included Madison, Wisconsin-based artists Marshall Glasier, Dudley Huppler and John Wilde, Karl Priebe of Milwaukee and their art combined macabre humor, mystery and irony which was in direct and pointed contradiction to the American Regionalism then in vogue. Major imagists include Roger Brown, Gladys Nilsson, Jim Nutt, Ed Paschke, non-European art may contain fantastic elements, although it is not necessarily easy to separate them from religious elements involving supernatural beings and miraculous events. Sculptor Bunleua Sulilat is a notable contemporary Asian Fantastic artist, dream art Outsider art Society for the Art of Imagination Surrealism Vienna School of Fantastic Realism Gruyères Castle Coleman, A. D. Fantastic illustration and design in Britain, 1850-1930, day, Holliday T. & Sturges, Hollister
Fantastic art
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Mermaid Syndrom by
George Grie, (2006).
Fantastic art
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Gustave Doré 's fantastic illustration of
Orlando Furioso: defeating a sea monster
5.
List of science fiction and fantasy artists
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Artists known exclusively for their work in comic books are not included. Many of the artists are known for their work in both the fantasy and sf fields, artists who have won the Hugo Award, the World Fantasy Award, or the Chesley Award are noted, as are inductees into the Science Fiction Hall of Fame. Charles Samuel Addams Dan Adkins Robert Adragna Paul Alexander Horacio Altuna Yoshitaka Amano Allen G. Cherry Brent Chumley James C, christensen Alan M. Clark Richard Corben Lee Brown Coye Kinuko Y. Senf Barclay Shaw Shusei Nagaoka Daniel Simon Wojciech Siudmak Hajime Sorayama Matthew Stawicki Rick Sternbach Steve Stiles Drew Struzan Anne Sudworth Arthur Suydam Darrell K
List of science fiction and fantasy artists
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"The Meeting" by Michael Böhme, 2010
List of science fiction and fantasy artists
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Cover art by
Hannes Bok for
Weird Tales March 1940
List of science fiction and fantasy artists
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If magazine June 1954, cover art by Ken Fagg: "Lava Falls on Mercury"
List of science fiction and fantasy artists
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Fantastic Adventures March 1949, cover by Alexander Kohn
6.
Fantasy comics
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Fantasy comics have been around as long as the medium itself. Fredric Werthams book Seduction of the Innocent which directly led to a Senate hearing of the influence of comics on juvenile violence, though fantasy comics were able to survive in this new atmosphere though in a diminished capacity compared to its much stronger output in these early years. In the 1970s, Conan the Barbarian, created by Robert E. Howard, after some changes of publishers, it continued to be published in the 2010s. In the 1990s, The Sandman, created by Neil Gaiman, Sam Kieth, the Seven Deadly Sins, Trinity Seven and Akatsuki no Yona
Fantasy comics
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Forbidden Worlds a common example of 1950s fantasy anthologies
7.
Fantasy film
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Fantasy films are films that belong to the fantasy genre with fantastic themes, usually involving 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, Fantasy films often have an element of magic, myth, wonder, escapism, and the extraordinary. Several sub-categories of fantasy films can be identified, although the delineations between these subgenres, much as in literature, are somewhat fluid. The most common fantasy subgenres depicted in movies are High Fantasy and Sword, both categories typically employ quasi-medieval settings, wizards, magical creatures and other elements commonly associated with fantasy stories. High Fantasy films tend to feature a more richly developed fantasy world, often, they feature a hero of humble origins and a clear distinction between good and evil set against each other in an epic struggle. Many scholars cite J. R. R, to some, the term Sword and Sandal has pejorative connotations, designating a film with a low-quality script, bad acting and poor production values. Another important subgenre of films that has become more popular in recent years is contemporary fantasy. Such films feature magical effects or supernatural occurrences happening in the world of today. Fantasy films set in the afterlife, called Bangsian Fantasy, are less common, other uncommon subgenres include Historical Fantasy and Romantic Fantasy, although 2003s Pirates of the Caribbean, The Curse of the Black Pearl successfully incorporated elements of both. As noted above, superhero movies and fairy tale films might each be considered subgenres of fantasy films, as a cinematic genre, fantasy has traditionally not been regarded as highly as the related genre of science fiction film. Since the late 1990s, however, the genre has gained new respectability in a way, tolkiens The Lord of the Rings and J. K. Jacksons The Lord of the Rings trilogy is due to its ambitious scope, serious tone. These pictures achieved phenomenal commercial and critical success, and the installment of the trilogy became the first fantasy film ever to win the Academy Award for Best Picture. The Harry Potter series has been a financial success, has achieved critical acclaim. Following the success of ventures, Hollywood studios have greenlighted additional big-budget productions in the genre. These have included adaptations of the first, second, and third books in C. S and this is in contrast to science fiction films, which are often released during the northern hemisphere summer. The huge commercial success of these pictures may indicate a change in Hollywoods approach to fantasy film releases. Fantasy films have a history almost as old as the medium itself, however, fantasy films were relatively few and far between until the 1980s, when high-tech filmmaking techniques and increased audience interest caused the genre to flourish
Fantasy film
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Fantasy films
8.
Fantasy fiction magazine
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A fantasy fiction magazine or fantasy magazine is a magazine which publishes primarily fantasy fiction. Not generally included in the category are magazines for children with stories about characters as Santa Claus. Also not included are adult magazines about sexual fantasy, many fantasy magazines, in addition to fiction, have other features such as art, cartoons, reviews, or letters from readers. Some fantasy magazines also publish fiction and horror fiction, so that here is not always a clear distinction between a fantasy magazine and a science fiction magazine. For example, Fantastic magazine published almost exclusively science fiction for much of its run
Fantasy fiction magazine
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Fantastic Adventures magazine
9.
Fantasy television
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Fantasy television is a genre of television programming featuring elements of the fantastic, often including magic, supernatural forces, or exotic fantasy worlds. Fantasy television programs are based on tales from mythology and folklore. The boundaries of fantasy television overlap with Science Fiction and Horror, similar to the difficulty faced by scholars of fantasy film, classifying a television program as fantasy can be somewhat problematic given the fluid boundaries of the genre. Not all programs with fantastic elements may qualify as fantasy, childrens programs in particular often feature fantastic elements that do not qualify the program as fantasy, such as the giant talking avian Big Bird of the popular PBS series Sesame Street. Nevertheless, some critics classify certain childrens programs that feature traditional fantasy elements such as characters, wizards. See, for example, He-Man and the Masters of the Universe, programs for general audiences may also be difficult to classify. The program The Twilight Zone presented a series of unrelated stories, some of which were works of science fiction, the more generic term speculative fiction might be appropriate for such shows. Other series blend the fantasy and horror genres, such as Buffy the Vampire Slayer, and still other programs feature dream sequences or other surreal elements, yet would not be considered fantasy shows by most fans or critics. In the United Kingdom, the term telefantasy is used as a term to collectively describe all types of programs that feature elements of the fantastic. Some critics consider Superhero programs to be works of fantasy, but others classify them as science fiction, see, for example Wonder Woman and Lois & Clark. Proper classification is ambiguous for the Tokusatsu superhero programs from Japan. A wide variety of subgenres have been represented on television
Fantasy television
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Fantasy
10.
Contemporary fantasy
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Contemporary fantasy, also known as modern fantasy or indigenous fantasy, is a subgenre of fantasy, set in the present day or, more accurately, the time period of the maker. It is perhaps most popular for its subgenre, urban fantasy, novels in which modern characters travel into alternate worlds, and all the magical action takes place there, are not considered contemporary fantasy. In his preface to That Hideous Strength, one of the earlier works falling within this subgenre, but they were not remote at all to the men who first made and enjoyed the tales. When the story takes place in a city, the work is called urban fantasy. The contemporary fantasy and low fantasy genres can overlap as both are defined as being set in the real world, low fantasies are set in the real world but not necessarily in the modern age, in which case they would not be contemporary fantasy. Contemporary fantasies are set in the world but may also include distinct fantasy settings within it, such as the Harry Potter series. Robert Louis Stevenson, The Bottle Imp H. G. Cox, Fearsome Creatures of the Lumberwoods Charles Williams, the Borrowers series by Mary Norton. Virtually the entire oeuvre of Charles de Lint Most of the novels of Tim Powers Various works by Mercedes Lackey, isaac Asimovs The Two-Centimeter Demon and other stories involving the tiny demon Azazel. Boris and Arkady Strugatskys Monday Begins on Saturday, where magic, rowlings Harry Potter series - set in the United Kingdom during the 1990s. Sergei Lukyanenkos Night Watch, set in Moscow and it has three sequels that form a tetralogy, Day Watch, Twilight Watch and Final Watch. Philip Pullmans His Dark Materials trilogy - The trilogy takes place across several universes including ours. I. T. C. H, a comic series by Elisabetta Gnone, Alessandro Barbucci, and Barbara Canepa. A number of works by Neil Gaiman, among them American Gods and Neverwhere, kelley Armstrongs Women of the Otherworld series Hazel Butlers Deathly Insanity series. Susan Coopers The Dark Is Rising Sequence Peter S. Beagles A Fine and Private Place, elrods Vampire Files series following Jack Fleming a vampire P. I. Freda Warringtons Aetherial Tales series Richelle Meads Georgina Kincaid series Derek Landys Skulduggery Pleasant Raymond E, examples include Practical Magic by Alice Hoffman, The Antelope Wife by Louise Erdrich, and Mistress of Spices by Chitra Bannerjee Divakaruni. The Mighty Thor of Marvel Comics can also be considered to belong to this subgenre, the same can be said of Hellboy. The Longest Journey is a game in which the protagonist discovers that an alternate magical reality exists in parallel with her contemporary urban reality. Once Upon a Time is a series that are based on fairy tales. The teenage witch Sabrina Spellman, living in contemporary America, clearly belongs to genre, as do the characters of the sitcom Bewitched
Contemporary fantasy
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Fantasy
11.
Legendary creature
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A legendary creature is an animal or part human described in non-historical stories that sometimes involve the supernatural. In the classical era, monstrous creatures such as the Cyclops, other creatures, such as the unicorn, were claimed in accounts of natural history by various scholars of antiquity. Some legendary creatures have their origin in traditional mythology and were believed to be creatures, for example dragons, griffins. Others were based on real encounters, originating in garbled accounts of travelers tales, such as the Vegetable Lamb of Tartary, a variety of mythical animals appear in the art and stories of the Classical era. For example in the Odyssey, monstrous creatures include the Cyclops, Scylla, in other tales there appear the Medusa to be defeated by Perseus, the Minotaur to be destroyed by Theseus, and the Hydra to be killed by Heracles, while Aeneas battles with the harpies. These monsters thus have the function of emphasising the greatness of the heroes involved. Some classical era creatures, such as the centaur, chimaera, Triton, similarly, sphinxes appear as winged lions in Indian art. In Medieval art, animals, both real and mythical, played important roles and these included decorative forms as in Medieval jewellery, sometimes with their limbs intricately interlaced. Animal forms were used to add humour or majesty to objects, in Christian art, animals carried symbolic meanings, where for example the lamb symbolised Christ, a dove indicated the Holy Spirit, and the classical griffin represented a guardian of the dead. Medieval bestiaries included animals regardless of reality, the basilisk represented the devil. One function of animals in the Middle Ages was allegory. Unicorns, for example, were described as swift and unable to be caught by traditional methods. It was believed that the way for one to catch this beast was to lead a virgin to its dwelling. Then, the unicorn was supposed to leap into her lap and go to sleep, in terms of symbolism, the unicorn was a metaphor for Christ. Unicorns represented the idea of innocence and purity, in the King James Bible, Psalm 92,10 states, My horn shalt thou exalt like the horn of an unicorn. This is because the translators of the King James erroneously translated the Hebrew word reem as unicorn, later versions translate this as wild ox. The unicorn’s small size signifies the humility of Christ, another common legendary creature which served allegorical functions within the Middle Ages was the dragon. Dragons were identified with serpents, though their attributes were greatly intensified, the dragon was supposed to have been larger than all other animals
Legendary creature
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A carving of a dragon from
Imperial City, Huế in Vietnam
Legendary creature
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Harry Kellar 's supernatural creatures
12.
Fantastic
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The fantastic is a subgenre of literary works characterized by the ambiguous presentation of seemingly supernatural forces. He also points out that the ending always drives the hesitation towards one of two decisions, The fantastic requires the fulfillment of three conditions. First, the text must oblige the reader to consider the world of the characters as a world of living persons, third, the reader must adopt a certain attitude with regard to the text, he will reject allegorical as well as poetic interpretations. The Fantastic can also represent dreams and wakefulness where the character or reader hesitates as to what is reality or what is a dream, again the Fantastic is found in this hesitation - once it is decided the Fantastic ends. There is no truly typical fantastic story, as the term encompasses both works of the horror and gothic genres. Edgar Allan Poes story The Black Cat, where a murderer is haunted by a black cat, there is no clear distinction between the fantastic and magic realism as neither privilege either realistic or supernatural elements. In Russian literature, the fantastic encompasses science fiction, fantasy, Fantastic Literature, A Critical Reader Siebers, Tobin, The Romantic Fantastic Traill, Nancy, Possible Worlds of the Fantastic, The Rise of the Paranormal in Fiction
Fantastic
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Fantasy
13.
Fantastique
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Fantastique is a French term for a literary and cinematic genre that overlaps with science fiction, horror, and fantasy. The fantastique is a genre within French literature. What is distinctive about the fantastique is the intrusion of supernatural phenomena into an otherwise realist narrative and it evokes phenomena which are not only left unexplained but which are inexplicable from the readers point of view. Instead, characters in a work of fantastique are, just like the readers and this refusal may be mixed with doubt, disbelief, fear, or some combination of those reactions. Fantastique literature is considered close to science fiction. The Fantastique is often linked to a particular ambiance, a sort of tension in the face of the impossible, a good deal of fear is often involved, either because the characters are afraid or because the author wants to provoke fright in the reader. However, fear is not a component of fantastique. In that case, the fantastique is nothing more than an area on a spectrum from magic realism to fantasy. Fantastique is a term that has also used to describe many television series. The fantastique began to become defined in the Middle Ages, the old Celtic, Frankish and Germanic myths were translated from religion into popular folklore. The root of thought about and artistic depiction of many things which are today often termed supernatural has its beginnings in this period. Concepts and characters such as Melusine, Harlequin, Oberon, Morgan Le Fay, the Fabliaux, satirical fables which relied on the tradition established by Aesop of using anthropomorphic animals such as Le Roman de Renart, generally attributed to poet Pierre de Saint-Cloud. The 16th century was marked by the emergence of new ideas and literary trends, the Renaissance bloomed in France during the reign of King Francis I who created a favorable environment for the development of letters, arts and sciences. It was during the French Renaissance that proto-science fiction first split from the fantastique, then, at the peak of his literary fame, he devoted several of his more famous Hymnes to supernatural subjects such as Daimons and astrology. Famous playwright Pierre Corneilles lesser-known but classic tragedies, Médée and Circé, popularized warlocks, the Malleus Maleficarum spawned a number of French imitations, among which were Jean Bodins La Démonomanie des Sorciers and Le Fléau des Démons et ses Sorciers. The 18th century was known as the Siècle des Lumières, or Age of Enlightenment, baroque was the link between the Merveilleux of the Renaissance and the more formalized fairy tales of the Enlightenment period. The precursor in the genre was Madame dAulnoy who, in 1690, introduced in her rambling novel Histoire dHyppolite, Comte de Douglas, in it, Perrault had carefully collected a number of popular folk tales and legends, such as Cendrillon a. k. a. Cinderella, La Belle au Bois Dormant a. k. a, donkey Skin, Le Petit Chaperon Rouge, Barbe-Bleue, Le Chat Botté, etc
Fantastique
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Fantasy
14.
History of fantasy
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Elements of the supernatural and the fantastic were an element of literature from its beginning. Such authors as George MacDonald created explicitly fantastic works, in addition, the rules, geography, history, etc. of this world tend to be defined, even if they are not described outright. Traditional fantastic tales take place in our world, often in the past or in far off and it seldom describes the place or the time with any precision, often saying simply that it happened long ago and far away. The second difference is that the supernatural in fantasy is by design fictitious, by one standard, no work created before the fantasy genre was defined can be considered to belong to it, no matter how many fantastic elements it includes. But even by the more limited definition a full examination of the history of the fantastic in literature is necessary to show the origins of the modern genre, traditional works contain significant elements which modern fantasy authors have drawn upon extensively for inspiration in their own works. The history of French fantastique literature is covered in detail under Fantastique. With increases in learning in the medieval European era, literary fiction joined earlier myths, among the first genres to appear was romance. This genre embraced fantasy, and not only simply followed traditional myths and fables, during the Renaissance, romance continued to be popular. The trend was to more fantastic fiction, the English Le Morte dArthur by Sir Thomas Malory, was written in prose, this work dominates the Arthurian literature, often being regarded as the canonical form of the legend. Arthurian motifs have appeared steadily in literature from its publication, though the works have been a mix of fantasy and non-fantasy works, ariostos tale, with its endlessly wandering characters, many marvels, and adventures, was a source text for many fantasies of adventure. With such works as Amadis of Gaul and Palmerin of England, one English romance is The Faerie Queene of Edmund Spenser. The poem is allegorical and allusive. Leaving allegory aside, however, the action is that of a knightly romance, involving knightly duels. That is probably the first work in which most of the characters are not men, there are mentioned also the wars between goblins and elf, which were destined to have a great future in fantastic fiction. The tale of Don Quixote deeply satirized the conventions of the romance, nevertheless, large subgenres of the field of fantasy have sprung from the romance genre, either directly or through their imitation by latter fantasy writer William Morris. Literary fairy tales, such as were written by Charles Perrault, many of Perraults tales became fairy tale staples, and influenced latter fantasy as such. Indeed, when Madame dAulnoy termed her works contes de fée, she invented the term that is now used for the genre. This would influence later writers, who took up the folk tales in the same manner
History of fantasy
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The Enchanted Garden of Messer Ansaldo by
Marie Spartali Stillman: a tale from the
Decameron is part of the evolution of the fantasy genre from tales of the fantastic.
History of fantasy
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Illustration to
Orlando furioso by
Gustave Doré, featuring the
hippogriff, a monster never actually found in folklore.
History of fantasy
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The Damsel of the Sanct Grael, by
Dante Gabriel Rossetti: medieval romance.
History of fantasy
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Portrait of Isabella Saltonstall as Una, a character from The Faerie Queene, by
George Stubbs.
15.
Lovecraftian horror
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Lovecraftian horror is a subgenre of horror fiction that emphasizes the cosmic horror of the unknown more than gore or other elements of shock, though these may still be present. It is named after American author H. P. Lovecraft, Lovecraft refined this style of storytelling into his own mythos that involved a set of supernatural, pre-human, and extraterrestrial elements. His work was inspired by, and similar to previous authors such as Edgar Allan Poe, Algernon Blackwood, however, Lovecraftian horror is not restricted to the countryside, The Horror at Red Hook, for instance, is set in a crowded ethnic ghetto. Several themes found in Lovecrafts writings are considered to be components of a Lovecraftian work, Anti-anthropocentrism, the horror features of Lovecrafts stories tend to involve protean semi-gelatinous substances, such as slime, as opposed to standard horror elements such as blood, bones, or corpses. Even when dealing with technology, Lovecraft tended to use anachronisms as well as old-fashioned words when dealing with such things. For example, he used the term man of rather than the modern word, scientist and often spelled show as shew. Lovecraftian heroes tend to be isolated individuals, usually with an academic or scholarly intent, although Lovecraftian heroes may occasionally deal a setback to malignant forces, their victories are temporary, and they usually pay a price for it. Otherwise, subjects often find themselves unable to simply run away. Characters in Lovecrafts stories rarely if ever fully understand what is happening to them, characters in many of Lovecrafts stories are unable to cope mentally with the extraordinary and almost incomprehensible truths they witness or hear. The strain of trying to cope, as Lovecraft often illustrates, is impossible to bear, relatives of characters are typically depicted as paranormal or abnormal, whereas intimate relations in general are often represented as foreboding and sinister. Much of Lovecrafts influence is secondary, as he was a friend, inspiration, many of these writers also worked with Lovecraft on jointly-written stories. His more famous friends and collaborators include Robert Bloch, author of Psycho, Robert E. Howard, creator of Conan the Barbarian, and August Derleth, subsequent horror writers also heavily drew on Lovecrafts work. Some have said that Lovecraft, along with Edgar Allan Poe, is the most influential author on modern horror, by the late 20th century, Lovecraft had become something of a pop-culture icon, resulting in countless reinterpretations of and references to his work. Many of these fall outside the sphere of Lovecraftian horror, Lovecrafts work, mostly published in pulp magazines, never had the same sort of influence on literature as his high-modernist literary contemporaries such as Ernest Hemingway and F. Scott Fitzgerald. However, his impact is still broadly and deeply felt in some of the most celebrated authors of contemporary fiction, the fantasias of Jorge Luis Borges display a marked resemblance to some of Lovecrafts more dream influenced work. Borges also dedicated his story, There Are More Things to Lovecraft, Lovecrafts penchant for dreamscapes and for the biologically macabre has also profoundly influenced visual artists such as Jean Moebius Giraud and H. R. Giger. Gigers book of paintings which led directly to many of the designs for the film Alien was named Necronomicon, Dan OBannon, the original writer of the Alien screenplay, has also mentioned Lovecraft as a major influence on the film. With Ronald Shusett, he would later write Dead & Buried and Hemoglobin, Lovecraft has cast a long shadow across the comic world
Lovecraftian horror
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Fantasy
16.
Magic in fiction
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Magic in fiction is the endowing of characters or objects in works of fiction with powers unavailable in the real world. R. R. Tolkien, C. S. Lewis, le Guin, Robert Jordan, Terry Brooks, J. K. Rowling, Mercedes Lackey and Derek Landy, within a work of fantasy, magics helps advance the plot, often providing power for the hero of the story and/or power for those who oppose him/her. The use of magic frequently manifests itself in a transformation of the character, in order to carry out its function, magic often comes at a price that is equal to its value. Contemporary authors tend to treat magic as an idea, opting to world-build with a blank slate where the laws of reality do not carry as much weight. Fictional magic may sometimes be inspired by beliefs and practices. Even when the writer uses non-fictional beliefs and practices, the effect, strength, in any given fantasy magical system, the magical ability of the character is limited. Limitations can add conflict to the story and prevent characters from becoming all-powerful with magic, authors introduce magic into their stories, and to their characters, in varying ways. Characters with talents that occur spontaneously usually require training in order to control their abilities, some works treat magic as a force that is acquired through studying books and tomes, aquired simply by learning an equation or memorizing a story. Works which feature this concept include a school where magic is taught as a main setting. Magic may also be gained by having it bestowed upon one character by another, such as a pact with a devil or with other spirits, a characteristic common in folklore. Sword and sorcery heroes are depicted as fighting against this type of wizard, in some works, such as fairy tales, magic items either endow the main characters with magical powers or have magical powers themselves. They are often used as plot devices or MacGuffins to drive the plot of a story, such items may be created by magicians or powerful beings, often in the distant past, but arent always possible to create at the present time of the story. Other fictional magical objects may have no explained past, wands and staves are often featured in fantasy works in the hands of wizards. Italian fairy tales put wands into the hands of the fairies by the late Middle Ages. In some works, types of magic are divided by color, as in folkloric and occult tradition, the white and black magic dichotomy may also exist in these works. Some works feature magic that is performed through using words to cast spells, while many works use this method without offering an explanation for it, others do offer an explanation, which differs from one work to another. Some works feature magic that is tied to a certain area, such places are usually the homes of powerful magical beings
Magic in fiction
–
The Alchemist, by
Joseph Wright of Derby
Magic in fiction
–
"
Magic Circle " by
John William Waterhouse
Magic in fiction
–
"The Crystal Ball" by
John William Waterhouse: studying magic
17.
Magician (fantasy)
–
A magician, mage, sorcerer, sorceress, warlock, witch, wizard, or wizardess is someone who uses or practices magic derived from supernatural or occult sources. Magicians are common figures in works of fantasy, such as literature and role-playing games, and enjoy a rich history in mythology, legends, fiction. In medieval chivalric romance, the wizard often appears as an old man and acts as a mentor. Other magicians, such as Saruman, from The Lord of the Rings series, villainous sorcerers were so crucial to pulp fantasy that the genre in which they appeared was dubbed sword and sorcery. Le Guins A Wizard of Earthsea explored the question of how wizards learned their art and this theme has been further developed in modern fantasy, often leading to wizards as heroes on their own quests. Such heroes may have their own mentor, a wizard as well, wizards can be cast similarly to the absent-minded professor, being foolish and prone to misconjuring. They can also be capable of magic, both good or evil. Even comical wizards are often capable of feats, such as those of Miracle Max in The Princess Bride, although he is a washed-up wizard fired by the villain. Wizards are often depicted as old, white-haired, and with white beards majestic enough to occasionally host lurking woodland creatures. This depiction predates the modern fantasy genre, being derived from the image of wizards such as Merlin. In the Dragonlance Dungeons and Dragons setting, wizards show their moral alignment by their robes, terry Pratchett described robes as a magicians way of establishing to those they meet that they are capable of practicing magic. To introduce conflict, writers of fiction often place limits on the magical abilities of wizards to prevent them from solving problems too easily. In Larry Nivens The Magic Goes Away, once an areas mana is exhausted, a common limit used in role-playing games is that a person can only cast a specific number of spells in a day. Magic can also require various sacrifices or the use of materials, such as gemstones, blood. Even if the magician lacks scruples, obtaining the material may be difficult, a. K. Moonfire combines these limits in his book The Aubrey Stalking Portal. The magician expends power to fuel his spells, but does not replenish that power naturally, therefore, the extent of a wizards knowledge is limited to which spells a wizard knows and can cast. Magic may also be limited by its danger, if a powerful spell can cause harm if miscast. Other forms of magic are limited by consequences that, while not inherently dangerous, are at least undesirable
Magician (fantasy)
–
The Enchanted Garden of Messer Ansaldo by
Marie Spartali Stillman: a magician makes a garden bear fruit and flowers in winter because Messer Ansaldo hopes thereby to win the heart of a married lady.
Magician (fantasy)
–
The Enchanter Merlin, by
Howard Pyle, from The Story of King Arthur and His Knights (1903)
Magician (fantasy)
–
Illustration by
Arthur Rackham:
Wōden visiting Mime
Magician (fantasy)
–
The Love Potion by
Evelyn De Morgan
18.
Race (fantasy)
–
Fantasy tropes are a specific type of literary tropes that occur in fantasy fiction. Worldbuilding, in particular, has many common conventions, as do plot and characterization, to a lesser extent. Many works of fantasy operate using these tropes, while others use them in a revisionist manner, making the tropes over for reasons such as for comic effect. The conflict of good against evil is a theme in the popular forms of fantasy, normally, evil characters erupt from their lands to invade. In some works, mostly notably in sword and sorcery, evil is not opposed by the unambiguously good, heroic characters are a mainstay of fantasy, particularly high fantasy and sword and sorcery. Such characters are capable of more than ordinary behavior, physically, morally, sometimes they might have to grow into the role ordained for them. This may take the form of maturation, which is often through Coming of Age, many protagonists are, unknown to themselves, of royal blood. Even in so fanciful a tale as Through the Looking-Glass, Alice is made a queen in the end, 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, the forces of evil are often personified in a Dark Lord. Besides possessing vast magical abilities, a Dark Lord often controls great armies, 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. 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 occasion when one has attempted to claim a bride. Quests, a trope in literature, are common in fantasy. They can be anything from a quest to locate the MacGuffins necessary to save the world, 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 world, or in a fantasy land that is part of reality but insulated from the mundane lands. A common trope is that the ability to work magic is innate, as a consequence the person who uses it, usually called a magician, wizard, sorcerer, warlock, mage, or magus, is a common figure in fantasy. Another feature is the item, which can endow characters with magical abilities that are not innate. 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
Race (fantasy)
–
Illustration by
Arthur Rackham to Richard Wagner's
Die Walküre: the magic sword, such as Nothung, is a common fantasy trope.
19.
List of religious ideas in fantasy fiction
–
Religious themes appear in fantasy fiction, including literature, film and television. These themes may be expressed directly, or through allegory and symbolism, the Brothers Lionheart by Astrid Lindgren. Philip Pullmans His Dark Materials series is heavy with anticlerical themes, the Catholic Church is depicted as an over-controlling, power-rich entity. In the trilogys second book, The Subtle Knife, a plan emerges to declare war against heaven, ainulindalë - it is the first story in J. R. R. Tolkiens fantasy collection The Silmarillion C. S. Lewis Chronicles of Narnia abound in Christian allegory. Aslan, the creator and protector of Narnia, is envisioned not simply as an analogue to Jesus of Nazareth. For Love of Evil by Piers Anthony Melkor is an Ainur, later Ilúvatar takes the Ainur to see how the music, at the end of the void, created Arda, the fictional Middle-earth. Melkor then desires to rule Arda and later becomes the source from whom all evil in the world of Middle-earth ultimately stems, in Chosen of the Changeling by Gregory Keyes, gods and goddesses are not remote entities, but numerous and everywhere. There is a hierarchy where the smaller and less powerful exists inside rocks and trees, especially the smaller ones interact regularly with humans. The most powerful exist simultaneously as four different beings, to Reign in Hell by Steven Brust narrates an alternate account of the War in Heaven, casting Satan as a sympathetic protagonist. Inferno by Larry Niven and Jerry Pournelle, escape from Hell by Larry Niven and Jerry Pournelle. The Time Quartet series by Madeleine LEngle covers a good vs. evil battle over the hearts and minds of children, the Goblin Tower by L. Sprague de Camp - An episode is set in the theocratic city-state of Tarxia. Lord of Light by Roger Zelazny - In the science fantasy novel a spaceshipload of humans set themselves up as gods and rulers of an alien race, the Velgarth novels by Mercedes Lackey – The land of Karse in ruled by a priesthood. His Dark Materials by Philip Pullman – A trilogy of fantasy novels, the television series Avatar the Last Airbender/Legend of Korra – Air Nomads, one of the four nations, has a Unitary Theocratic Senate from which came then-avatar and Protagonist Aang born. In Sequel the Protagonists first son Tenzin is now only first leader as Air Nation, in the Warhammer 40,000 world the Imperium of Man, is a theocracy administered by the High Lords of Terra in the God-Emperors name. List of religious ideas in science fiction Religion in The Chronicles of Narnia Religious debates over the Harry Potter series List of fictional religions
List of religious ideas in fantasy fiction
–
Fantasy
20.
Sources of fantasy
–
Though the fantasy genre in its modern sense is less than two centuries old, its sources have a long and distinguished history. Elements of the supernatural and the fantastic were an element of literature from its beginning, in The Encyclopedia of Fantasy, John Clute and John Grant separated the concept of fantasy as such from that of taproot texts, works that are sources for fantasy, but not themselves fantasy. The Epic of Gilgamesh was written over generations following the reign of King Gilgamesh. This figure is sometimes an influence and, more rarely, a figure in modern fantasy, some scholars believe The Epic of Gilgamesh is a source used by the authors of the Bible, specifically the story of Noah and the flood. India has a tradition of fantastical stories and characters, dating back to Vedic mythology. Several modern fantasy works such as RG Veda draw on the Rig-Veda as a source, the Panchatantra was influential in Europe and the Middle East. It used various animal fables and magical tales to illustrate the central Indian principles of political science, talking animals endowed with human qualities have now become a staple of modern fantasy. The Baital Pachisi is a collection of fantasy tales set within a frame story about an encounter between King Vikramāditya and a Vetala, an early mythical creature resembling a vampire. Classical mythology is replete with stories and characters, the best known being the works of Homer. The philosophy of Plato has had influence on the fantasy genre. In the Christian Platonic tradition, the reality of other worlds, chinese traditions have been particularly influential in the vein of fantasy known as Chinoiserie, including such writers as Ernest Bramah and Barry Hughart. The most well known fiction from the Islamic world was The Book of One Thousand and One Nights, the epic took form in the tenth century and reached its final form by the fourteenth century, the number and type of tales have varied from one manuscript to another. This epic has been influential in the West since it was translated in the 18th century, many imitations were written, especially in France. Various characters from this epic have themselves become cultural icons in Western culture, such as Aladdin, Sinbad, a number of elements from Persian and Arabian mythology are now common in modern fantasy, such as genies, bahamuts, magic carpets, magic lamps, etc. When L. Frank Baum proposed writing a fairy tale that banished stereotypical elements, he included the genie as well as the dwarf. The Shahnameh, the epic of Iran, is a mythical. Amir Arsalan was also a popular mythical Persian story, which has influenced some modern works of fantasy fiction, medieval European sources of fantasy occurred primarily in epic poetry and in the Fornaldarsagas, Norse and Icelandic sagas, both of which are based on ancient oral tradition. The influence of works on the German Romantics, as well as William Morris
Sources of fantasy
–
"The Alchemist" by
Joseph Wright of Derby: many historical beliefs and stories have been sources for the genre of fantasy.
Sources of fantasy
–
"Ali Baba" by
Maxfield Parrish
Sources of fantasy
–
Thor's battle against the giants, by Marten Eskil Winge, 1872
Sources of fantasy
–
Fornalder (times past), painting by
Peter Nicolai Arbo
21.
Tolkien fandom
–
Fandom is a term used to describe a specific type of fan subculture. Tolkien fandom in this sense sprang up in the United States in the 1960s, in the context of the movement, to the dismay of the author. A Tolkienist is someone who studies the work of J. R. R. Tolkien, the term Ringer refers to a fan of The Lord of the Rings in general, and of Peter Jacksons live-action film trilogy in particular. Other terms describing Tolkien fans include Tolkienite or Tolkiendil, Tolkiens The Hobbit, a childrens book, was first published in 1937, and it proved popular. However, The Lord of the Rings, first published in 1954 through 1955, serious admirers and fans of Tolkien came into existence within science fiction fandom soon after the publication of The Fellowship of the Ring. Tolkien-inspired costumes were worn at Worldcons as early as 1958, some enthusiastic Los Angeles fans had been discussing creating a Tolkien-specific society as early as 1959. Those people who provided accepted research papers to the fanzine, I Palantir. Non-members could purchase the magazine, of which Ted Johnstone was elected editor, england’s first Tolkien fanzine was Nazgul’s Bane, produced by Cheslin. It was a newszine for those British members of The Fellowship, as Worldcon art shows started, The Fellowship Ring provided prizes for Tolkien-inspired artwork. Since most of the contributors to fanzines at the time out of science fiction fandom. Attempts to add a flavor of lofty writing style in many pieces resulted in stilted phrasing, major articles on Tolkien’s literary sources appeared through multiple issues of Xero. Lin Carter later used this as a basis for his 1969 book, Tolkien, a major defender and advocate of Tolkien in this era was Marion Zimmer Bradley, with such articles as her 1962 “Men, Halflings, and Hero Worship” in Astra’s Tower. She wrote two Tolkien pastiches and one story with Aragorn entering her own created world of Darkover. She published what would be an issue of her own Tolkien fanzine. Others had more meaningful Tolkien content, Ed Meskys’ apazine Niekas turned into a full-fledged fanzine during this era, with heavy Tolkien content as well as discussion of Gilbert & Sullivan, science fiction conventions and other topics. Pete Mansfield’s Sword & Sorcery fanzine, Eldritch Dream Quest, included many Tolkien items, science fiction fandom produced many high quality examples of Tolkien writing in their fanzines during these years. Even the nose of a very modest idol cannot remain entirely untickled by the smell of incense. Fan attention became so intense that Tolkien had to take his phone out of the public directory
Tolkien fandom
–
Fantasy
22.
Fantasy tropes
–
Fantasy tropes are a specific type of literary tropes that occur in fantasy fiction. Worldbuilding, in particular, has many common conventions, as do plot and characterization, to a lesser extent. Many works of fantasy operate using these tropes, while others use them in a revisionist manner, making the tropes over for reasons such as for comic effect. The conflict of good against evil is a theme in the popular forms of fantasy, normally, evil characters erupt from their lands to invade. In some works, mostly notably in sword and sorcery, evil is not opposed by the unambiguously good, heroic characters are a mainstay of fantasy, particularly high fantasy and sword and sorcery. Such characters are capable of more than ordinary behavior, physically, morally, sometimes they might have to grow into the role ordained for them. This may take the form of maturation, which is often through Coming of Age, many protagonists are, unknown to themselves, of royal blood. Even in so fanciful a tale as Through the Looking-Glass, Alice is made a queen in the end, 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, the forces of evil are often personified in a Dark Lord. Besides possessing vast magical abilities, a Dark Lord often controls great armies, 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. 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 occasion when one has attempted to claim a bride. Quests, a trope in literature, are common in fantasy. They can be anything from a quest to locate the MacGuffins necessary to save the world, 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 world, or in a fantasy land that is part of reality but insulated from the mundane lands. A common trope is that the ability to work magic is innate, as a consequence the person who uses it, usually called a magician, wizard, sorcerer, warlock, mage, or magus, is a common figure in fantasy. Another feature is the item, which can endow characters with magical abilities that are not innate. 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
Fantasy tropes
–
Illustration by
Arthur Rackham to Richard Wagner's
Die Walküre: the magic sword, such as Nothung, is a common fantasy trope.
23.
Fantasy world
–
A fantasy world is a fictional universe created in fiction media, such as literature, film or games. Typical fantasy worlds involve magic or magical abilities, nonexistent technology and sometimes, many fantasy worlds draw heavily on real world history, geography and sociology, and also on mythology and folklore. The setting of a work is often of great importance to the plot. The setting itself can be imperiled by the evil of the story, suffer a calamity, stories that use the setting as merely a backdrop for the story have been criticized for their failure to use it fully. Even when the land itself is not in danger, it is used symbolically, for thematic purposes. Early fantasy worlds appeared as fantasy lands, part of the same planet, for example, Oz, though a fantasy world in every way, is described as part of this world. Even within the span of decades, Oz, which had been situated in a desert in the United States when first written about in 1900, was relocated to a spot in the Pacific Ocean. This is a process that continues, and finally culminates in the world having little connection, if any. A more recent example of a land with definite connections to the actual world is Austin Tappan Wrights Islandia. Islandias remoteness and aura of mystery, as well as its preservation of a society, are explained by means of a law which allows only limited contact with foreigners. Dream frames were also common for encasing the fantasy world with an explanation of its marvels. Such a dream frame was added to the story of The Wonderful Wizard of Oz for the version, in the book. Lovecraft made active use of the frame, creating elaborate geographies accessible to humans only when they were asleep. These dream-settings have been criticized, and are far less frequent today and this change is part of a general trend toward more self-consistent and substantive fantasy worlds. Tolkiens The Lord of the Rings, when these worlds are copied not so much from history as from other fantasy works, there is a heavy tendency to uniformity and lack of realism. The full width and breadth of the era is seldom drawn upon. Governments, for instance, tend to be uncompromisingly feudal-based, or evil empires or oligarchies, usually corrupt, Fantasy worlds also tend to be medieval in economy, and disproportionately pastoral. Careful world-building plus meticulous attention to detail is cited as the reason why certain fantasy works are deeply convincing
Fantasy world
–
"The
Nix as a brook horse" by
Theodor Kittelsen: folklore transformed into a fantasy world
Fantasy world
–
The Creation of the Two Trees figured in Tolkien's fantasy world,
Arda
24.
Speculative fiction
–
Speculative fiction as a category ranges from ancient works to both cutting edge, paradigm-changing and neotraditional works of the 21st century. In historiography, what is now called speculative fiction has previously been termed historical invention, historical fiction, such supernatural, alternate history and sexuality themes continue in works produced within the modern speculative fiction genre. In its English language usage in arts and literature since 20th century, a variation on this term is speculative literature. It fell into disuse around the mid-1970s, the Internet Speculative Fiction Database contains a broad list of different subtypes. In the 2000s, the term came into use as a convenient collective term for a set of genres. However, some writers, such as Margaret Atwood, continue to maintain a distinction between speculative fiction as a no Martians type of fiction, about things that really could happen. Academic journals which publish essays on speculative fiction include Extrapolation, according to publisher statistics, men outnumber women about two to one among English-language speculative fiction writers aiming for professional publication. However, the percentages vary considerably by genre, with women outnumbering men in the fields of urban fantasy, paranormal romance and young adult fiction
Speculative fiction
–
Speculative fiction
25.
Alternate history
–
Alternate history or alternative history, sometimes abbreviated as AH, is a genre of fiction consisting of stories in which one or more historical events occur differently. These stories usually contain what if scenarios at crucial points in history, the stories are conjectural, but are sometimes based on scientific fact. Alternate history can be seen as a subgenre of fiction, science fiction, or historical fiction. Another term occasionally used for the genre is allohistory, cross-time, time-splitting, and alternate history themes have become so closely interwoven that it is impossible to discuss them fully apart from one another. In French, Italian, Spanish, Catalan and German, the genre of history is called uchronie / ucronia / ucronía / Uchronie. This neologism is based on the prefix ου- and the Greek χρόνος, a uchronia means literally no time. This term apparently also inspired the name of the history book list. Several genres of fiction have been misidentified as alternate history, Science fiction set in what was the future but is now the past, like Arthur C. Clarkes 2001, A Space Odyssey or George Orwells Nineteen Eighty-Four, is not alternate history because the author did not make the choice to change the past at the time of writing, Alternate history is related to, but distinct from, counterfactual history. The earliest example of history is found in Livys Ab Urbe Condita Libri. Livy concluded that the Romans would likely have defeated Alexander, another example is Joanot Martorells 1490 epic romance Tirant lo Blanch, which was written when the loss of Constantinople to the Turks was still a recent and traumatic memory for Christian Europe. It tells the story of the knight Tirant the White from Brittany who travels to the remnants of the Byzantine Empire. He becomes a Megaduke and commander of its armies and manages to fight off the invading Ottoman armies of Mehmet II and he saves the city from Islamic conquest, and even chases the Turks deeper into lands they had previously conquered. In the English language, the first known complete alternate history is Nathaniel Hawthornes short story P. s Correspondence, the first novel-length alternate history in English would seem to be Castello Holfords Aristopia. While not as nationalistic as Louis Geoffroys Napoléon et la conquête du monde, 1812–1823, in Aristopia, the earliest settlers in Virginia discover a reef made of solid gold and are able to build a Utopian society in North America. A number of alternate history stories and novels appeared in the late 19th, in 1931, British historian Sir John Squire collected a series of essays from some of the leading historians of the period for his anthology If It Had Happened Otherwise. In this work, scholars from major universities turned their attention to questions as If the Moors in Spain Had Won. The essays range from serious scholarly efforts to Hendrik Willem van Loons fanciful, among the authors included were Hilaire Belloc, André Maurois, and Winston Churchill
Alternate history
–
The world in 1964 in the novel
Fatherland where the Germans won
World War II.
26.
Retrofuturism
–
Retrofuturism is a trend in the creative arts showing the influence of depictions of the future produced in an earlier era. If futurism is sometimes called a bent on anticipating what will come. Primarily reflected in artistic creations and modified technologies that realize the imagined artifacts of its parallel reality, but it has also manifested in the worlds of fashion, architecture, design, music, literature, film, and video games. The word retrofuturism, combines more recent ideas of nostalgia and retro with older traditions of futurism, an early use of the term was in the title of T. R. Hinchcliffes Pelican book Retro-futurism - Penguin,1967. A recent neologism, the actual term retrofuturism was used by American Lloyd Dunn in 1983, according to fringe art magazine Retrofuturism, Retrofuturism builds on ideas of futurism, but the latter term functions differently in several different contexts. In avant-garde artistic, literary and design circles, Futurism is a long-standing, in his 1967 book T. R. Retrofuturism is first and foremost based on modern but changing notions of the future. It took its current shape in the 1970s, a time when technology was rapidly changing, from the advent of the personal computer to the birth of the first test tube baby, this period was characterized by intense and rapid technological change. But many in the public began to question whether applied science would achieve its earlier promise—that life would inevitably improve through technological progress. In the wake of the Vietnam War, environmental depredations, but they also wondered, sometimes in awe, sometimes in confusion, at the scientific positivism evinced by earlier generations. Retrofuturism seeped into academic and popular culture in the 1960s and 1970s, inflecting George Lucas’ Star Wars and the paintings of pop artist Kenny Scharf alike. Surveying the optimistic futurism of the twentieth century, the historians Joe Corn and Brian Horrigan remind us that retrofuturism is a history of an idea. The future, or course, does not exist except as an act of belief or imagination, Retrofuturism incorporates two overlapping trends which may be summarized as the future as seen from the past and the past as seen from the future. Such futuristic visions are refurbished and updated for the present, and offer a nostalgic, counterfactual image of what the future might have been, the second trend is the inverse of the first, futuristic retro. It starts with the appeal of old styles of art, clothing, mores, and then grafts modern or futuristic technologies onto it, creating a mélange of past, present. In the movie Space Station 76, mankind has reached the stars, in practice, the two trends cannot be sharply distinguished, as they mutually contribute to similar visions. In the same way, futuristic retro owes much of its flavor to early science fiction, both retrofuturistic trends in themselves refer to no specific time. Examples include the film Sky Captain and the World of Tomorrow, set in an imaginary 1939, adam Reeds animated comedy series Archer is also set in a retrofuture aesthetic world. The import of retrofuturism has, in recent years, come under considerable discussion, some, like the German architecture critic Niklas Maak, see retrofuturism as nothing more than an aesthetic feedback loop recalling a lost belief in progress, the old images of the once radically new
Retrofuturism
–
Retrofuturistic depiction of a flying locomotive, in a
dieselpunk style reminiscent of the early 1940s
Retrofuturism
–
The
Chrysler PT Cruiser sparked a trend of retrofuturistic designs in automobiles that continues to this day.
Retrofuturism
–
Retrofuturistic rocket model at Wikipedia event in Berlin, 2005
Retrofuturism
–
An example in
Shanghai of a retrofuturistic design in architecture.
27.
Sidewise Award for Alternate History
–
The Sidewise Awards for Alternate History were established in 1995 to recognize the best alternative history stories and novels of the year. The awards take their name from the 1934 short story Sidewise in Time by Murray Leinster, the awards were created by Steven H Silver, Evelyn C. Over the years, the number of judges has fluctuated between three and eight, including judges in the UK and South Africa, each year, two awards are presented, usually at the World Science Fiction Convention. The Short-Form award is presented to a work under 60,000 words in length, the Long-Form award may be presented to a work longer than 60,000 words, including both novels and complete series. At their discretion, the judges may elect to recognize an individual or work with a Special Achievement Award in recognition of works that were published prior to the awards inception. Taylor, The Windsor Faction & Bryce Zabel, Surrounded by Enemies, sprague de Camp, lifetime achievement 1997 – Robert Sobel, For Want of a Nail 1999 – Randall Garrett, The Lord Darcy Series The Sidewise Award website
Sidewise Award for Alternate History
–
Sidewise Award for
Murray Davies 's novel
Collaborator
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