#The Earthsea Series

[joncronshawauthor]

What is Noblebright Fantasy? A Beginner's Guide

If you’re a fan of fantasy literature, you may have come across the term “noblebright.” But what exactly does it mean? In this post, we’ll explore the concept of noblebright fantasy and what sets it apart from other sub-genres of fantasy literature. What is noblebright fantasy? Noblebright fantasy is a relatively new term, first coined in 2014 by author C. J. Brightley. It’s an approach to…

[soggybottomboysvevo]

this is so awesome. no more tv no more shows, lets all start reading books again. booktok losers dni

[captainsvscaptains]

Round 2 Part 4 Poll 4

Propaganda

Ged's a wizard he's bisexual and he loves his boat so much. He's sailed around the world on his beloved little boat and learned everything about sailing even though he could've just used magic because it brought him joy. I just like him a lot. Also he talks to dragons

Jonny is an immortal (die and come back, regenerative immortality) pirate who commandeered the Aurora for himself and the woman who made him immortal. She proceeded to make several other people immortal, who all joined the crew, until they threw her out the airlock (several times. She left of her own free will as a result of this). Jonny declared that, as the original member, he was captain now. Everyone decided to ignore him. He introduces himself as ""your humble captain"" every performance, and every performance Tim (another crew member) and usually the entire audience yells "first mate!" He once said "so she came to the closest thing we have to a captain: myself" only for it to cut to the situation in question to show that he had no control at all. Even the starship doesn't see him as the captain (she's sentient. Also a lesbian! I love her). Captain struggles aside, he's so fun. He once committed every single crime on a planet (except the sex crimes). He had an arrest warrant out with the reason "just arrest the fucker". He has a whole post-patricide harmonica solo. He's fantastic

[waterlilyvioletfog]

Mildly obsessed with how Moira Quirk’s voice for Ianthe sometimes pronounces Harrowhark as “Harrowhawk”

[cooking-with-hailstones]

I love it when I suddenly get a bunch of notes on my Earthsea posts

Like hello fellow tumblr tag searcher, seeking anyone else who's going feral over these people. Welcome. Glad you're here.

[witchesoz]

Okay, I will say it... It absolutely INFURIATES ME that people say they want to make (or start making) a project about Oz - as in the literary Oz, the original Oz, the Oz books, right?

And then... then they say "Oh yeah I never read any of the books outside of the first one, and I don't intend to. I'll just use Wikipedia articles and various Oz adaptations".

WHAT THE HECK IS WRONG WITH YOU ARE YOU LITERALY SO LAZY? I mean... you do an adaptation of a specific material that was overtly overshadowed and ignored, is surrounded by misinformation and misadaptation, and with more than half of its content not found on stuff like Wikipedia... And you don't even bother reading it to know what you are getting into?

If you want to do something based on the MGM movie, it's fine. If you want to do something based on Wicked, it's fine. If you want to do something based on the friggin' anime series it's fine! But don't start claiming you want to do based something on Baum's original book when you clearly don't want to!

Because you know what the worst offense is?

Not only are Baum's books books for CHILDREN which means they are quick and easy to read... BUT THEY ARE IN PUBLIC DOMAIN! Which means not only you can find copies of them everywhere... THEY ARE ALSO EVERYWHERE ON THE INTERNET! THERE'S TONS OF WEBSITES with ALL of Baum's books available for free to read any time you want, at any speed you want, with no effort to bring!

You have all of this material at your fingertips, ready to grab, and you just... "Nah, I say I will use the Oz books but I only read one and the rest comes from adaptations". GRRGRHRHFTHRAAAAAA

[bhmallorie]

That one part of A Wizard of Earthsea where the main character screws up and afterwards loses all of his self confidence? I felt that deep in my soul, and being able to convey feeling like that is really my only goal with writing.

[maranull]

Druids that sometimes struggle to find their personhood after using wild shape

Druids that retain some mannerisms of their most used form even when they turn back

Legends of Druids that failed to return, and fully became the creature they turned to, now indistinguishable from a sparrow, a bear, a wolf

[mask131]

About the "Tolkienesque renaissance"

The term "Tolkienesque renaissance" is of my own invention and creation, but it is a name I use to designate a very specific wave of fantasy fiction, or rather a specific phenomenon in the evolution of fantasy in the English-speaking literature.

As we all know, Tolkien's shadow cannot be escaped when doing fantasy. Tolkien's works being published began the modern fantasy genre as we know it today. D&D, the other big "influencer" of fantasy, would not have existed without Tolkien. The Peter Jackson trilogy began the fantasy renewal of the 21st century. Epic fantasy is a sub-genre explicitely designed after Tolkien's work.

And the massive influence of Tolkien over fantasy is the most felt in the second half of the 20th century, in English-speaking literature, through something I would call the "Tolkien cold-war". When you take a look at the fantasy books of the second half of the 20th century, you notice a fundamental clash and divide splitting it all in some sort of silent feud or discreet conflict. On one side, you have the "Tolkien followers" - as in, the authors who walk in Tolkien's footsteps ; on the other side, you have the "counter-Tolkien" offering what is essentially a counter-culture in a Tolkien-dominated fantasy.

We all know that Tolkien's success was huge in the early second half of the 20th century. The success of "The Lord of the Rings" and the "Hobbit" and the "Silmarillion" was especially important during the 60s and 70s - Gandalf for president and all that... People loved Tolkien's fantasy, people WANTED Tolkien's fantasy, and so publishers and others were happy to oblige. This began the "Tolkien followers" movement - but this beginning was a very unfortunate one, because it was one that relied on not just homage, imitation or pastiche... But in pure copy-cat and sometimes complete rip-off. Since people wanted some Tolkien, people were given LITERAL Tolkienesque fantasy. The most famous (or unfamous example of this would be the 1977 's "The Sword of Shannara" novel. This novel was designed to literaly be a simplified "The Lord of the Rings" with only a few details changed here and there. In fact, this is most of what people recall about this book - how blatant of a Tolkien rip-off it is. And yet, this book was a BEST-SELLER of the 70s fantasy, and it was a huge success, and everybody loved it, precisely because it did the same thing Tolkien did, and so you got to enjoy your favorite series all other again. Afterward, Terry Brooks, the author of the novel, expanded it into a complete series moving into much more original and personal directions, as he admitted himself that doing a Tolkien copy-paste was more of a publishing and editorial decision to make sure he would sell and settle himself in the literary landscape rather than an actual artistic project or personal desire. "The Sword of Shannara" got its own sequels, and became its own thing (though VERY reflective of what the 80s American fantasy was in terms of style, tone and content), but nowadays everybody remembers it for being the "Tolkien rip-off" in its first novel.

And yet being a Tolkien rip-off can sell well, and if the "Shannara" series hadn't proved it, "Dungeons and Dragons" did, since its first edition in the late 70s went as far as to just take Tolkien's inventions such as orcs, Balrogs and hobbits, and include it in its game. The same way the Shannara series then found its own tone and content, through the successive editions Dungeons and Dragons then began to build a world of its own... But it confirms what I said: it was the era of the Tolkien rip-offs.

In front of these "Tolkien followers", which were back then "Tolkien imitators", there was another movement that drove fantasy forward - and it was the "counter-Tolkien movement" so to speak. Works of fantasy that willingly chose to depart from Tolkien's formulas and archetypes and tropes, to do their own thing. Sometimes they did it out of an actual dislike of Tolkien's books: for example the "Elric Saga" was created because Moorcock hated the paternalist, moralist tone of The Lord of the Rings, and so he countered Tolkien's world with a protagonist serving the Lords of Chaos, using a soul-sucking evil sword, last remnant of an empire of cruel, decadent and demonic elves, in a tragic world doomed to endless falls and oblivions... (Though, ironically, Moorcock would end up initiating a genre of dark fantasy that Tolkien himself had explored in his unpublished texts...). Others did it not because they disliked Tolkien but wanted to prove you could do something else: for example Ursula Le Guin admired and appreciated Tolkien's works, but she was fed up with all the imitators and pastiches, and so she created her "Earthsea" world. No European setting dominated by white people, but an archepilago of islands with dark-skinned characters. No big war or political manipulations, the stories being about about the life, journeys and evolution of individual people. No sword-wielding hero or horse-riding paladin, but wizards and priestesses as the protagonists. No big prophecy about the end of the world, flashy magical sword or evil overlord ready to destroy the universe (well... almost), but rather philosophical and existential battles doubling as a fight against oneself and one's very existence...

This counter-Tolkien genre definitively peaked with the other big name of "dark fantasy" and what would annonce the "grimdark fantasy" a la Game of Thrones: Glen Cook's The Black Company.

But what about the titular "Tolkienesque renaissance" I speak of?

Well, if the "Tolkien followers" had only done bad rip-offs, it would have never lasted, ad the "counter-Tolkien" movement would have won. In fact in the 80s, it almost did! Tolkienesque fantasy was thought of as cliched and stereotyped and overdone and dead. People had enough of these blatant-rip offs, as the hype of the 60s and 70s had died out, and the 80s folks turned to other forms of fantasy - such as The Black Company (Dark Fantasy), or Fafhrd and the Gray Mouser (Sword and Sorcery), or various parodies and humoristic fantasies, but all far from the "epic fantasy". And yet, something happened... The "Tolkien imitators" became "Tolkien followers" or rather "Tolkien reinventors", and began the "Tolkienesque renaissance".

The Tolkienesque renaissance is this group of fantasy authors, most predominant in the 90s though they began their work by the late 80s, that decided they would make the Tolkienesque fantasy live on. Not just by copying it as their predecessors did, a la Shannara, no. But by reinventing it, freshening up the old ways for a modern audience and new times. They took back all the key ingredients, and the famed archetypes and the usual tropes of the epic fantasy a la Tolkien, and they reused them without shame... But in new ways, with twists and turns, playing on the codes of the genre, while carefully avoiding the cliches and stereotypes of the time. Giving what people liked about epic fantasy, while also producing new works that felt fresh and went into opposite directions - taking lessons from the counter-Tolkien movement.

It is commonly agreed that the series that began this renaissance was David Eddings' The Belgariad, published between 1982 and 1984. Just a look at the Wikipedia article mentions this best-selling, very influential fantasy series was the "last gasp of traditional fantasy, and the founding megasaga of modern fantasy"... Now, I actually have to disagree with Wikipedia's words. I do not consider it a "last gasp of traditional fantasy" since it already began the Tolkienesque renaissance and thus a new generation of fantasy ; and the other qualificative is ridiculous since modern fantasy already began with Tolkien, and the Belgariad is not a mega-saga, but just five average-sized books. But the idea of it being a link between an older and a newer generation of fantasy books is very true.

While The Belgariad has to be put first, second comes Robert Jordan's The Wheel of Time, which probably is the most famous of the Tolkienesque renaissance works of the 90s and became this behemoth of fantasy literature. And to make a trilogy of iconic works, I will add another 90s success: Tad Williams' "Memory, Sorrow and Thorn". Another iconic work of the Tolkienesque renaissance, though lesser known today than the Belgariad or The Wheel of Time - which is a shame, because Williams' work as a huge and heavy influence on a famous fantasy story of today... "A Song of Ice and Fire", which takes a LOT from "Memory, Sorrow and Thorn" (I even call this trilogy the "missing link" between LotR and ASoIaF).

The thing with these Tolkienesque renaissance series is that today, to an audience that was nourished by Tolkien and D&D and Pratchett and other things of the sort, a superficial glance might make them seem like "yet other rip-offs, yet other stereotyped, yet other clichéed" fantasy series. You just have to see the reception of the first season of "The Wheel of Time" tv series - here there was a clash between two generatons of fantasy.

And what these people who take a superficial glance will miss is how inventive and fresh and interesting these series felt back then because they played with or subverted the tropes and the codes of the traditional fantasy. They all played by the usual archetypes - you have an everyman young chosen one, a magical mentor who must "die" at one point, an evil overlord in an ominous half-disembodied state, evil black-clad horsemen going after the hero, elves and dwarves and trolls... And yet, these series twisted these same ingredients they used to bring new flavors.

Let us take the Belgariad briefly, to see how the whole Tolkienesque formula was subverted. Like in Tolkien you've got an order of wizards appeared as elderly, bearded men - but here, they are definitively human beings unlike the otherwordly Istari, and their appearance is explained by them being the disciples of a god that likes to take the appearance of a bearded old man, and who by divine influence made them look like him. You've got a dangerous, all-powerful item the big bad is seeking to destroy the world - but here it is no evil, or corrupting thing. It is rather an item dangerous because of the sheer scope and range of its power, and the temptation isn't becaue it is "evil" power, but just because it is a power so massive it can break the world. You've got a missing king with a stewart/regent holding the throne for him until the lost heir returns - but when said heir returns, the stewart/regent is no evil vizir or scheming usurper, and gladly offers back the throne to its legitimate owner. Belgarath, your Gandalf-stand-in, is far from being the dignified guide and noble mentor of Tolkien, as he is a half-werewolf drunkard that hates any kind of official ceremony or garb and prefers running through the woods or rolling under a table in taverns. And while everything is designed as a Tolkienesque setting, you've got no elves or dwarves or orcs - but humans. And that's a big change compared to more traditional 80s fantasy (like D&D or the Krondor series or Shannara). You have your Nazgûl stand-ins, but they're humans. You've got your Istari, but they're humans. You've got your dwarves equivalent, but they're humans. You've got your orcs equivalents, but human too. And it is shown that it is all a human vs human combat, despite being a world of magic and gods, placing some relativism into it all. (Though the fact they decided to subvert the Tolkienesque good vs evil wordlbuilding by having humans on both sides did cause other aspects of the series to age badly but that's another topic).

I can go on and on but I think you see my point - and this same subversion can be found in the other two series I talked about.

The Wheel of Time begins with the chosen one going on a quest... But which chosen one? That's the problem - there are multiple candidates, and so we begin with a guessing game. And the Aes Sedai are clearly an answer to Tolkien's Istari - but all women instead of all men, and much more numerous and pro-active. As for "Memory, Sorrow and Thorn" we have benevolent trolls that are actually more akin to Tolkien's dwarves and have some Inuit-influence, while the Tolkienesque-elves turn out to either be the big bads of the series and the evil guys ; or to be sheltered, useless side-characters that are not helping anyone and cause more problems than anything (I'm exaggerating a bit here, but you get the subversion). Spoilers - but the Galadriel equivalent literaly gets murdered during her second actual appearance, to make it very clear what kind of subversion we are into.

Because this was the game of these books - and the reason they were such huge successes. It wasn't about avoiding or setting themselves free from the tropes and code and archetypes of the genre. Rather it was about reappropiating them, reusing them, twisting them and modernizing them in order to get rid of the stale cliches and frozen stereotypes. It was all a game of imitation yes, but also of derailing - a subtle, discreet, derailing so that everybody got on board of the same type of train, but said train took different tracks to another landscape and worked on a different fuel. (If it makes sense?). It is a game of subtle twists - but unfortunately it is often this subtlety that makes these series overlooked, as people just focus too much on what is identical/similar and not much on what is different... Despite the differences being key here in this effort of renewing what was a dying style. Placing back these books in their context highlights even more how "fresh" they felt back then.

I have one specific point that illustrates this, but I'll need to write a whole post for it...

[thinkanamelater]

Sparrowhawk (my beloved)

As usual I like the sketch version more 🙃 but here are both!

[saintsenara]

TW Mention of transphobia

JKR being a firm believer that trans women are male predators in public bathrooms makes me conclude that she’d also share the (horrible) opinion that some people carrying the HIV virus are innocent and some are not, the demographics being the ones you pointed out. It reminds me of what Ursula K Le Guin said about Harry Potter - “stylistically ordinary, imaginatively derivative, and ethically rather mean-spirited.”

an absolute stone-cold banger of a quote from ursula le guin, which i chuckle at every time i see it.

[beetleandfox]

you. fantasy book fan. I’m going to show you a drawing of a man with light brown skin, dark hair, facial scars, “hawk-like features” whatever that means, and a serious expression. you have 5 minutes to tell me what character this is. good luck

[captainsvscaptains]

Battle of the Ships

Semi-Finals

[lennyjamin]

i have previously tried to read left hand of darkness and had some trouble getting into it but i popped on the left hand of darkness audiobook for a long drive.... and BOY HOWDY am i fucking in it now. turns out i just needed to get past the first chapter. im enthralled. ursula k le guin never misses

[bitterrobin]

list of things Damian grows to like (as personal reference for my au):

Warrior Cats (introduced to it by Tom)

Rumiko Takahashi manga, specifically Ranma 1/2 and Inuyasha

Naruto (on and off)

Kamen Rider (gets hyperfixated on it)

Skip Beat!

Nodame Cantible

Basara

Tokyo Ghoul (when he's older/its a Flatine recc)

Fullmetal Alchemist

Redwall

Eragon

Percy Jackson

Kimi no Todoke

Blue Period

Soul Eater (very Flatline coded)

delinquent manga (stuff like Angel Densetsu, Crows, and Cromartie)

[rosefires20]

Im-

I just finished the final book of the Earthsea Cycle and oh my god. There are no words to describe that ending or how well it fit. It settled so perfectly and so neatly. It went exactly where it meant to go and no I do not have the words to describe what exactly that intent or path was just that it existed.

Genuinely, the Earthsea Cycle is one of my all time favorite series. It's just so curious and so deep but also not at the same time. The lessons of the series are so fantastic and ones that I believe are impactful no matter your age. The exploration of being a woman in a world dominated by men is incredible in this series as well as the process of finding your place in the world and sometimes acknowledging that it isn't what you thought it'd be.

Each book I love more than the last. The Other Wind is so damn good. I love Alder as a character. I love Irian. I love Azver. I love the Kargish princess and her own character development. Lebannenn's character growth as well. Like just. It's so incredible. It also makes me appreciate Tales from Earthsea more because it's shocking how much each of those short stories truly contribute to the world building and conclusion of the series.

The way the story just slowly built up to the events of The Other Wind is also just incredible considering the time between the books being published especially in the second half of the series. The consistency is incredible and you really don't actually know where it is all going until the end yet everything pays off still.

Just god. I love it so much.