The Rivan Codex is a collection of background material to the Belgariad and Malloreon fantasy saga by David and Leigh Eddings . It consists of two bodies of material used in writing the novels, one for each series, with three informal essays by David Eddings. Belgarath the Sorcerer and Polgara the Sorceress do not have dedicated sections, but are referred to in the Eddings' discussions, and drew on the material of the first ten books. In particular, one text presented in the background to the Belgariad forms the basis for the first chapter of Belgarath the Sorcerer .
8-416: The Rivan Codex also contains the holy writings of the various religions in the world and the economic diversities of the different countries. It starts off with a creation story where each god takes a people and then goes into their specific money, religion, economy method, trade relations, weights/measures, etc. One of the essays also lists the following formula for epic fantasy : This article about
16-420: A fantasy book is a stub . You can help Misplaced Pages by expanding it . Epic fantasy High fantasy , or epic fantasy , is a subgenre of fantasy defined by the epic nature of its setting or by the epic stature of its characters , themes , or plot . High fantasy is usually set in an alternative, fictional ("secondary") world , rather than the "real" or "primary" world. This secondary world
24-408: A broad term to include a number of different flavors of the fantasy genre, including epic fantasy , mythic fantasy, dark fantasy , and wuxia . It typically is not considered to include the sword and sorcery genre. High fantasy has often been defined by its themes and messages. " Good versus evil " is a common one in high fantasy, and defining the character of evil is often an important theme in
32-409: A childlike figure, but matures rapidly, experiencing a considerable gain in fighting/problem-solving abilities along the way. The progress of the story leads to the character's learning the nature of the unknown forces against them, that they constitute a force with great power and malevolence. The villains in such stories are usually completely evil and unrelatable. "High fantasy" often serves as
40-660: A work of high fantasy, such as The Lord of the Rings . The importance of the concept of good and evil can be regarded as the distinguishing mark between high fantasy and sword and sorcery. In many works of high fantasy, this conflict marks a deep concern with moral issues; in other works, the conflict is a power struggle, with, for instance, wizards behaving irresponsibly whether they are "good" or "evil". Role-playing games such as Dungeons & Dragons with campaign settings like Dragonlance by Tracy Hickman and Margaret Weis and Forgotten Realms by Ed Greenwood are
48-461: Is usually internally consistent, but its rules differ from those of the primary world. By contrast, low fantasy is characterized by being set on Earth, the primary or real world, or a rational and familiar fictional world with the inclusion of magical elements. The romances of William Morris , such as The Well at the World's End , set in an imaginary medieval world, are sometimes regarded as
56-542: The first examples of high fantasy. The works of J. R. R. Tolkien —especially The Lord of the Rings —are regarded as archetypal works of high fantasy . The term "high fantasy" was coined by Lloyd Alexander in a 1971 essay, "High Fantasy and Heroic Romance", which was originally given at the New England Round Table of Children's Librarians in October 1969. Many high fantasy stories are told from
64-415: The viewpoint of one main hero. Often, much of the plot revolves around their heritage or mysterious nature, along with a world-threatening problem. In many novels the hero is an orphan or unusual sibling, and frequently portrayed with an extraordinary talent for magic or combat. They begin the story young, if not as an actual child, or are portrayed as being very weak and/or useless. The hero often begins as
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