All this books and stuff, that isn't what it should all be about. What we need is real wizardry. There was an eighth son of an eighth son. He was, quite naturally, a wizard. And there it should have ended. However (for reasons we'd better not go into), he had seven sons. And then he had an eighth son... a wizard squared...a source of magic...a Sourcerer. Unseen University has finally got what it wished for: the most powerful wizard on the disc. Which, unfortunately, could mean that the death of all wizardry is at hand. And that the world is going to end, depending on whom you listen to. Unless of course one inept wizard can take the University's most precious artefact, the very embodiment of magic itself, and deliver it halfway across the disc to safety...
The doctorial thesis argues that the term Subcreation with its revised and broadened definition, in part differing from J.R.R. Tolkien's original term sub-creation, may be used for the discussion of the making of fictional worlds in literary discourse. The successful conception of a fictional world depends on the reader's willing suspension of disbelief. This depends both on the author and his skilled composition of the world and all its aspects, as well as on the reader's acceptance of this invented fictional world. The author needs to create a narrative with an inner consistency, which is crucial to achieving the effect of the reader's immersion in the fictional world. The fundamental aspects that an author needs to realize to achieve successful Subcreation have been structured into and analysed in four categories: Language and Linguistic Variation, Physiopoeia, Anthropoeia and Mythopoeia. Furthermore, this thesis shows that, as contemporary examples of fantastic literature, both Tad Williams's and Terry Pratchett's fictional worlds are successfully created through the realization of these aspects of Subcreation. Apart from commenting on the success of the subcreative process, this thesis also remarks upon the cultural influences both authors include in their writings. While both may be considered Anglophone in a general categorization, Pratchett's Discworld retains a feeling of 'Britishness' that is not to be found in Williams's Otherland. The thesis proposes several approaches to Subcreation that may be studied subsequently. So, for example, it may be possible to determine the success of an author's Subcreation by collecting empirical data. Apart from literary works this field of studies may also include other media.
Terry Pratchett's Discworld series is a publishing phenomenon around the globe. Three dozen novels over the past 20-odd years have delighted millions of readers. Here, avid fan and fantasy author Watt-Evans offers 62 chapters describing the Discworld for fan and neophyte alike, with a chapter-by-chapter chronological account of how each novel has altered and added to the whole, a taxonomy of the various sub-series and extensive comments on 'How It All Works' and 'What It All Means'.
In the 'fantasy' universe of the phenomenally bestselling Discworld series, everything runs on magic and common sense. The world is flat and million-to-one chances happen nine times out of ten. Our world seems different - it runs on rules, often rather strange ones. Science is our way of finding out what those rules are. The appeal of Discworld is that it mostly makes sense, in a way that particle physics does not. The Science of Discworld uses the magic of Discworld to illuminate the scientific rules that govern our world. When a wizardly experiment goes adrift, the wizards of Unseen University find themselves with a pocket universe on their hands: Roundworld, where neither magic nor common sense seems to stand a chance against logic. Roundworld is, of course, our own universe. With us inside it (eventually). Guided (if that's the word) by the wizards, we follow its story from the primal singularity of the Big Bang to the Internet and beyond. We discover how puny and insignificant individual lives are against a cosmic backdrop of creation and disaster. Yet, paradoxically, we see how the richness of a universe based on rules has led to a complex world and at least one species that tried to get a grip on what was going on. . .
"A beginner's guide to British and European folklore as reflected, celebrated and affectionately libelled in the phenomenally successful Discworld series. Co-written by Terry Pratchett and renowned British folklorist Jacqueline Simpson."--Provided by publisher.
A new contribution to a humorous saga follows the adventures of Death's granddaughter, who enjoys her inherited family job until she falls in love, and Imp the Bard, who finds ill luck in the attainment of a dream come true.
Who taught witchcraft to Granny Weatherwax? What does Death keep on his desk? This is an A-Z guide to the characters, places, flora and fauna of Terry Pratchett's fantasy planet, Discworld, with sketches and maps of the key locations.
A story set in Ankh-Morpork, the greatest city of Discworld, where someone is turning the citizens into something resembling small charcoal biscuits. The captain of the City Watch must find a seventy-foot long dragon to help with his enquiries.