[{"data":1,"prerenderedAt":1686},["ShallowReactive",2],{"i-kinnu:logo":3,"i-kinnu:origami-folding":8,"pathway-culture-an-introduction-to-fantasy":12,"i-lucide:chevron-right":1681,"i-lucide:tag":1684},{"left":4,"top":4,"width":5,"height":5,"rotate":4,"vFlip":6,"hFlip":6,"body":7},0,27,false,"\u003Cg fill=\"none\">\u003Cpath d=\"M0.046875 1.05555C0.046875 1.03541 0.048197 1.01579 0.0507438 0.996728C0.0987149 0.438619 0.586845 0 1.18194 0H25.4398C26.451 0 26.9575 1.171 26.2424 1.85585L15.7301 11.9243L1.31574 0.903476C1.17475 0.79568 1.01137 0.761884 0.859586 0.784111L26.2936 25.1441C27.0086 25.829 26.5022 27 25.4909 27H1.18194C0.555061 27 0.046875 26.5133 0.046875 25.9129V1.05555Z\" fill=\"currentColor\"/>\u003C/g>",{"left":4,"top":4,"width":9,"height":10,"rotate":4,"vFlip":6,"hFlip":6,"body":11},1000,236,"\u003Cg fill=\"none\">\u003Cpath fill-rule=\"evenodd\" clip-rule=\"evenodd\"\n    d=\"M193.68 38.2238C195.994 38.2238 197.87 40.0989 197.87 42.412V231.812C197.87 234.125 195.994 236 193.68 236H4.19013C1.87603 236 2.02305e-07 234.125 0 231.812V42.412C-2.02305e-07 40.0989 1.87603 38.2238 4.19013 38.2238H193.68ZM111.76 89.0072C111.685 87.9474 110.572 87.2905 109.608 87.7376L96.8872 93.641C95.7786 94.1554 95.702 95.7016 96.7545 96.3225L101.579 99.167C94.7045 109.365 90.5733 122.892 90.5732 137.642C90.5733 154.323 95.8569 169.439 104.416 179.945C105.301 181.032 106.9 181.196 107.987 180.311C109.075 179.426 109.238 177.828 108.353 176.741C100.621 167.25 95.6522 153.305 95.6521 137.642C95.6522 123.661 99.6138 111.051 105.963 101.754L110.456 104.403C111.508 105.024 112.826 104.21 112.74 102.991L111.76 89.0072ZM9.63194 136.286C9.14864 136.286 8.75684 136.678 8.75684 137.161C8.7569 137.644 9.14868 138.035 9.63194 138.035H17.2161C17.6993 138.035 18.0912 137.644 18.0912 137.161C18.0912 136.678 17.6994 136.286 17.2161 136.286H9.63194ZM22.6813 136.286C22.198 136.286 21.8062 136.678 21.8062 137.161C21.8063 137.644 22.1981 138.035 22.6813 138.035H30.2655C30.7487 138.035 31.1406 137.644 31.1406 137.161C31.1406 136.678 30.7488 136.286 30.2655 136.286H22.6813ZM35.7464 136.286C35.2631 136.286 34.8713 136.678 34.8713 137.161C34.8713 137.644 35.2631 138.035 35.7464 138.035H44.4973C44.9805 138.035 45.3724 137.644 45.3724 137.161C45.3724 136.678 44.9806 136.286 44.4973 136.286H35.7464ZM49.9977 136.286C49.5144 136.286 49.1226 136.678 49.1226 137.161C49.1226 137.644 49.5144 138.035 49.9977 138.035H57.5819C58.0651 138.035 58.4569 137.644 58.457 137.161C58.457 136.678 58.0651 136.286 57.5819 136.286H49.9977ZM63.0783 136.286C62.595 136.286 62.2032 136.678 62.2032 137.161C62.2033 137.644 62.5951 138.035 63.0783 138.035H70.6625C71.1457 138.035 71.5375 137.644 71.5376 137.161C71.5376 136.678 71.1457 136.286 70.6625 136.286H63.0783ZM76.1277 136.286C75.6444 136.286 75.2526 136.678 75.2526 137.161C75.2527 137.644 75.6445 138.035 76.1277 138.035H83.7119C84.1951 138.035 84.5869 137.644 84.587 137.161C84.587 136.678 84.1951 136.286 83.7119 136.286H76.1277ZM102.266 136.286C101.782 136.286 101.39 136.678 101.39 137.161C101.391 137.644 101.782 138.035 102.266 138.035H109.85C110.333 138.035 110.725 137.644 110.725 137.161C110.725 136.678 110.333 136.286 109.85 136.286H102.266ZM115.338 136.286C114.855 136.286 114.463 136.678 114.463 137.161C114.463 137.644 114.855 138.035 115.338 138.035H122.923C123.406 138.035 123.798 137.644 123.798 137.161C123.798 136.678 123.406 136.286 122.923 136.286H115.338ZM128.403 136.286C127.92 136.286 127.528 136.678 127.528 137.161C127.528 137.644 127.92 138.035 128.403 138.035H135.988C136.471 138.035 136.863 137.644 136.863 137.161C136.863 136.678 136.471 136.286 135.988 136.286H128.403ZM141.468 136.286C140.985 136.286 140.593 136.678 140.593 137.161C140.593 137.644 140.985 138.035 141.468 138.035H149.053C149.536 138.035 149.928 137.644 149.928 137.161C149.928 136.678 149.536 136.286 149.053 136.286H141.468ZM154.541 136.286C154.058 136.286 153.666 136.678 153.666 137.161C153.666 137.644 154.058 138.035 154.541 138.035H162.125C162.609 138.035 163 137.644 163.001 137.161C163.001 136.678 162.609 136.286 162.125 136.286H154.541ZM167.614 136.286C167.131 136.286 166.739 136.678 166.739 137.161C166.739 137.644 167.131 138.035 167.614 138.035H175.198C175.681 138.035 176.073 137.644 176.073 137.161C176.073 136.678 175.681 136.286 175.198 136.286H167.614ZM180.671 136.286C180.188 136.286 179.796 136.678 179.796 137.161C179.796 137.644 180.188 138.035 180.671 138.035H188.255C188.739 138.035 189.13 137.644 189.131 137.161C189.131 136.678 188.739 136.286 188.255 136.286H180.671Z\"\n    fill=\"currentColor\" />\n  \u003Cpath fill-rule=\"evenodd\" clip-rule=\"evenodd\"\n    d=\"M444.85 38.2277C447.164 38.2277 449.04 40.1028 449.04 42.4159V132.928C449.04 135.241 447.164 137.116 444.85 137.116H255.36C253.046 137.116 251.17 135.241 251.17 132.928V42.4159C251.17 40.1028 253.046 38.2277 255.36 38.2277H444.85ZM361.96 125.388C361.618 125.046 361.064 125.046 360.722 125.388L354.534 131.572C354.192 131.914 354.192 132.468 354.534 132.81C354.876 133.151 355.43 133.151 355.772 132.81L361.96 126.624C362.301 126.283 362.301 125.73 361.96 125.388ZM371.047 116.311C370.705 115.969 370.15 115.969 369.809 116.311L364.446 121.671C364.104 122.012 364.104 122.567 364.446 122.908C364.788 123.249 365.342 123.25 365.684 122.908L371.047 117.548C371.388 117.207 371.388 116.652 371.047 116.311ZM380.124 107.246C379.782 106.904 379.227 106.904 378.885 107.246L373.523 112.606C373.181 112.948 373.181 113.502 373.523 113.844C373.864 114.185 374.419 114.185 374.761 113.844L380.124 108.483C380.465 108.142 380.465 107.587 380.124 107.246ZM385.736 65.8841C385.891 64.6727 384.622 63.7845 383.536 64.3434L371.069 70.7636C370.124 71.2504 369.96 72.5334 370.752 73.2424L381.2 82.5938C382.11 83.4081 383.561 82.8672 383.717 81.6557L384.393 76.3725C391.143 77.1933 398.567 80.7709 404.771 86.9711C411.124 93.3213 414.726 100.952 415.43 107.827C415.573 109.221 416.819 110.236 418.214 110.093C419.609 109.95 420.624 108.703 420.481 107.309C419.644 99.1317 415.435 90.4514 408.362 83.3817C401.466 76.489 393.038 72.3185 385.038 71.338L385.736 65.8841ZM389.2 98.1733C388.859 97.8319 388.304 97.8318 387.962 98.1733L382.6 103.534C382.258 103.875 382.258 104.429 382.6 104.771C382.941 105.112 383.496 105.112 383.838 104.771L389.2 99.4108C389.542 99.0693 389.542 98.5149 389.2 98.1733ZM398.262 89.1047C397.92 88.7633 397.365 88.7632 397.024 89.1047L391.661 94.4649C391.319 94.8065 391.319 95.3608 391.661 95.7024C392.002 96.0436 392.557 96.0438 392.899 95.7024L398.262 90.3421C398.603 90.0007 398.603 89.4463 398.262 89.1047ZM416.431 70.9616C416.089 70.6202 415.534 70.6201 415.193 70.9616L409.83 76.3218C409.488 76.6634 409.488 77.2177 409.83 77.5592C410.172 77.9005 410.726 77.9007 411.068 77.5592L416.431 72.199C416.772 71.8575 416.772 71.3032 416.431 70.9616ZM425.508 61.891C425.166 61.5496 424.611 61.5495 424.27 61.891L418.907 67.2512C418.565 67.5928 418.565 68.1471 418.907 68.4887C419.249 68.8299 419.803 68.8301 420.145 68.4887L425.508 63.1284C425.849 62.787 425.849 62.2326 425.508 61.891ZM434.569 52.8146C434.227 52.4731 433.673 52.4731 433.331 52.8146L427.968 58.1748C427.626 58.5163 427.627 59.0706 427.968 59.4122C428.31 59.7534 428.864 59.7537 429.206 59.4122L434.569 54.052C434.91 53.7105 434.91 53.1562 434.569 52.8146ZM443.638 43.7479C443.296 43.4065 442.742 43.4064 442.4 43.7479L437.037 49.1081C436.695 49.4496 436.696 50.004 437.037 50.3455C437.379 50.6868 437.933 50.687 438.275 50.3455L443.638 44.9853C443.98 44.6438 443.979 44.0895 443.638 43.7479Z\"\n    fill=\"currentColor\" />\n  \u003Cpath fill-rule=\"evenodd\" clip-rule=\"evenodd\"\n    d=\"M684.066 38.2277C687.798 38.2281 689.667 42.7391 687.027 45.3773L596.473 135.889C595.687 136.675 594.621 137.116 593.51 137.116H506.335C504.021 137.116 502.145 135.241 502.145 132.928V42.4159C502.145 40.1028 504.021 38.2277 506.335 38.2277H684.066ZM514.603 124.566C514.261 124.224 513.707 124.224 513.365 124.566L507.178 130.751C506.836 131.093 506.836 131.646 507.178 131.988C507.519 132.329 508.073 132.329 508.415 131.988L514.603 125.803C514.945 125.462 514.945 124.908 514.603 124.566ZM523.689 115.491C523.348 115.15 522.794 115.15 522.452 115.491L517.09 120.852C516.748 121.193 516.748 121.747 517.09 122.088C517.431 122.43 517.985 122.43 518.327 122.088L523.689 116.728C524.031 116.386 524.031 115.833 523.689 115.491ZM532.102 65.8295C530.707 65.6872 529.46 66.7017 529.318 68.0957C529.175 69.4896 530.189 70.7355 531.584 70.8787C538.463 71.5825 546.096 75.1826 552.45 81.5329C558.723 87.8037 562.312 95.3226 563.079 102.13L557.738 102.392C556.518 102.452 555.865 103.855 556.607 104.827L565.115 115.969C565.76 116.814 567.051 116.751 567.611 115.847L574.992 103.928C575.635 102.889 574.848 101.555 573.628 101.615L568.161 101.882C568.161 101.878 568.162 101.874 568.161 101.871C567.324 93.6931 563.114 85.0124 556.041 77.9425C548.968 70.873 540.283 66.6668 532.102 65.8295ZM532.766 106.421C532.425 106.079 531.871 106.079 531.529 106.421L526.166 111.781C525.825 112.123 525.825 112.676 526.166 113.018C526.508 113.359 527.062 113.359 527.403 113.018L532.766 107.657C533.108 107.316 533.108 106.762 532.766 106.421ZM541.843 97.3445C541.501 97.003 540.948 97.003 540.606 97.3445L535.243 102.705C534.901 103.046 534.902 103.6 535.243 103.941C535.585 104.283 536.139 104.283 536.48 103.941L541.843 98.5809C542.185 98.2393 542.185 97.686 541.843 97.3445ZM550.92 88.2778C550.578 87.9363 550.025 87.9363 549.683 88.2778L544.32 93.638C543.978 93.9796 543.978 94.5329 544.32 94.8745C544.662 95.2161 545.215 95.2161 545.557 94.8745L550.92 89.5142C551.262 89.1727 551.262 88.6193 550.92 88.2778ZM569.066 70.1405C568.724 69.799 568.17 69.7991 567.829 70.1405L562.466 75.5008C562.124 75.8423 562.124 76.3956 562.466 76.7372C562.808 77.0788 563.361 77.0788 563.703 76.7372L569.066 71.377C569.407 71.0354 569.407 70.4821 569.066 70.1405ZM578.143 61.0699C577.801 60.7284 577.247 60.7285 576.906 61.0699L571.543 66.4302C571.201 66.7717 571.201 67.3251 571.543 67.6666C571.885 68.0082 572.438 68.0082 572.78 67.6666L578.143 62.3064C578.484 61.9648 578.484 61.4115 578.143 61.0699ZM587.219 51.9896C586.878 51.6481 586.324 51.6481 585.982 51.9896L580.62 57.3498C580.278 57.6914 580.278 58.2447 580.62 58.5863C580.961 58.9279 581.515 58.9279 581.857 58.5863L587.219 53.2261C587.561 52.8845 587.561 52.3312 587.219 51.9896ZM596.288 42.9249C595.947 42.5833 595.392 42.5833 595.05 42.9249L589.689 48.2851C589.347 48.6267 589.347 49.18 589.689 49.5216C590.03 49.863 590.584 49.8631 590.926 49.5216L596.288 44.1613C596.63 43.8198 596.63 43.2664 596.288 42.9249Z\"\n    fill=\"currentColor\" />\n  \u003Cpath fill-rule=\"evenodd\" clip-rule=\"evenodd\"\n    d=\"M850.814 38.2277C854.547 38.2281 856.416 42.739 853.777 45.3773L763.223 135.889C762.437 136.674 761.371 137.116 760.26 137.116H673.176C669.443 137.116 667.574 132.605 670.213 129.966L760.768 39.4544C761.554 38.6692 762.62 38.2277 763.731 38.2277H850.814ZM761.338 121.8C760.855 121.8 760.463 122.191 760.463 122.674V131.13H762.213V122.674C762.213 122.191 761.821 121.8 761.338 121.8ZM761.338 108.971C760.855 108.971 760.463 109.363 760.463 109.846V118.301H762.213V109.846C762.213 109.363 761.821 108.971 761.338 108.971ZM761.338 96.1402C760.855 96.1406 760.463 96.5321 760.463 97.0149V105.47H762.213V97.0149C762.213 96.532 761.821 96.1404 761.338 96.1402ZM782.263 71.887C781.043 71.951 780.395 73.3571 781.139 74.3257L784.474 78.6631C779.115 82.951 771.242 85.7443 762.35 85.7444C753.366 85.7442 745.421 82.8944 740.059 78.5305C738.972 77.6461 737.373 77.8099 736.488 78.8961C735.602 79.983 735.766 81.582 736.853 82.467C743.231 87.6574 752.348 90.8207 762.35 90.8209C772.209 90.8208 781.205 87.746 787.568 82.6884L790.833 86.9341C791.577 87.9025 793.103 87.6391 793.479 86.4767L797.791 73.138C798.118 72.127 797.33 71.1017 796.268 71.1566L782.263 71.887ZM761.338 70.4847C760.855 70.4851 760.463 70.8767 760.463 71.3594V79.8147H762.213V71.3594C762.213 70.8766 761.821 70.485 761.338 70.4847ZM761.338 57.656C760.855 57.6564 760.463 58.048 760.463 58.5307V66.986H762.213V58.5307C762.213 58.0479 761.821 57.6563 761.338 57.656ZM761.338 44.8293C760.855 44.8297 760.463 45.2212 760.463 45.704V54.1592H762.213V45.704C762.213 45.2211 761.821 44.8295 761.338 44.8293Z\"\n    fill=\"currentColor\" />\n  \u003Cpath\n    d=\"M995.759 38.2277C999.53 38.228 1001.42 42.5171 998.752 45.0253L959.55 81.9005L905.796 41.5363C905.271 41.1418 904.662 41.0182 904.096 41.0994L997.485 130.319C1000.15 132.828 998.262 137.116 994.491 137.116H905.298C902.96 137.116 901.065 135.333 901.065 133.134V42.0941C901.065 42.0204 901.07 41.9483 901.079 41.8786C901.258 39.8345 903.079 38.2277 905.298 38.2277H995.759Z\"\n    fill=\"currentColor\" />\n  \u003Cpath\n    d=\"M505.873 0C506.657 4.57042e-05 507.307 0.195499 507.823 0.587023C508.338 0.969046 508.596 1.53802 508.596 2.29251C508.596 2.76034 508.467 3.19015 508.209 3.58162C507.951 3.96344 507.497 4.26401 506.848 4.48361V4.54114C507.65 4.67487 508.205 4.96191 508.51 5.4012C508.816 5.83087 508.969 6.31772 508.969 6.86193C508.969 7.74056 508.672 8.41851 508.08 8.89604C507.497 9.38304 506.733 9.62731 505.787 9.62738C504.861 9.62738 504.158 9.42172 503.68 9.0111C503.212 8.60054 502.935 8.08005 502.849 7.44993L503.881 7.10571L503.924 7.24028C504.035 7.54934 504.211 7.82925 504.454 8.07986C504.731 8.36635 505.166 8.50986 505.758 8.50989C506.465 8.50989 506.943 8.32772 507.191 7.9648C507.449 7.6019 507.579 7.20078 507.579 6.7615C507.579 6.2173 507.378 5.80683 506.977 5.52992C506.585 5.25295 505.93 5.10026 505.013 5.07161V4.15402C505.901 4.12537 506.489 3.92484 506.776 3.55237C507.062 3.18009 507.206 2.82242 507.206 2.47876C507.206 1.62801 506.752 1.17539 505.845 1.12237L505.658 1.11749C505.467 1.11752 505.242 1.14605 504.985 1.2033C504.736 1.25105 504.511 1.3274 504.31 1.43245L504.081 2.56457L503.05 2.44951L503.322 0.687461C503.666 0.49653 504.068 0.33454 504.526 0.200875C504.985 0.0671945 505.434 0 505.873 0Z\"\n    fill=\"currentColor\" />\n  \u003Cpath\n    d=\"M905.727 2.30616L904.638 2.4066L904.466 1.26083H901.428V3.72497C901.533 3.71544 901.643 3.71034 901.757 3.71034H902.086C902.755 3.71034 903.386 3.78668 903.979 3.93949C904.58 4.09229 905.068 4.38363 905.44 4.8132C905.822 5.23335 906.014 5.84949 906.014 6.66106C906.014 7.64468 905.722 8.38068 905.14 8.86776C904.557 9.36434 903.783 9.6127 902.818 9.61275C901.91 9.61275 901.213 9.40711 900.725 8.99648C900.248 8.59544 899.96 8.08007 899.865 7.44993L900.911 7.10571C901.007 7.49723 901.203 7.8271 901.499 8.09449C901.795 8.37131 902.211 8.50985 902.746 8.50989C903.395 8.50989 903.869 8.33787 904.165 7.99405C904.461 7.65981 904.609 7.22507 904.609 6.69031C904.609 5.87861 904.337 5.3625 903.792 5.14279C903.248 4.91361 902.612 4.79958 901.886 4.79955C901.695 4.79955 901.489 4.80365 901.27 4.8132C901.059 4.82275 900.854 4.83701 900.653 4.85611L900.224 4.44071V0.143343H905.569L905.727 2.30616Z\"\n    fill=\"currentColor\" />\n  \u003Cpath fill-rule=\"evenodd\" clip-rule=\"evenodd\"\n    d=\"M765.49 6.04576H766.966L766.837 7.14862H765.49V9.48404H764.185V7.14862H759.857L759.713 6.04576L762.909 0.143343H765.49V6.04576ZM760.96 6.04576H764.185V1.26083H763.541L760.96 6.04576Z\"\n    fill=\"currentColor\" />\n  \u003Cpath d=\"M4.80573 6.47481H6.41154V7.60693H1.81068V6.47481H3.50235V1.27546H1.81068V0.143343H4.80573V6.47481Z\"\n    fill=\"currentColor\" />\n  \u003Cpath\n    d=\"M254.359 0C255.353 0 256.055 0.239186 256.466 0.716715C256.877 1.18447 257.083 1.68072 257.083 2.20573C257.083 2.85516 256.849 3.44346 256.38 3.96875C255.912 4.49397 255.348 4.96638 254.689 5.38657C254.039 5.79717 253.437 6.15968 252.883 6.47481H256.423L256.538 5.42948L257.599 5.51529L257.426 7.60693H251.407L251.292 6.58987C252.582 5.73032 253.638 4.98523 254.46 4.35489C255.281 3.71509 255.693 3.05632 255.693 2.37832C255.693 1.53787 255.166 1.11749 254.115 1.12237L254.115 1.11749C253.924 1.11754 253.695 1.14604 253.427 1.2033C253.16 1.25104 252.916 1.32238 252.697 1.41783L252.467 2.47876L251.45 2.3637L251.707 0.60165C252.118 0.401088 252.563 0.253475 253.041 0.15797C253.519 0.0529708 253.958 1.99446e-05 254.359 0Z\"\n    fill=\"currentColor\" />\u003C/g>",{"id":13,"data":14,"type":15,"maxContentLevel":27,"version":28,"tiles":29},"9f600996-bb90-4516-b002-70ce95d77f0c",{"type":15,"title":16,"tagline":17,"description":17,"featureImageSquare":18,"baseColor":19,"emoji":20,"shapePreference":4,"allowContentSuspension":21,"allowContentEdits":21,"editorsChoice":21,"accreditations":22,"certificatePriceLevel":25,"certificationTitle":26},8,"An Introduction to Fantasy","A magical journey from Tolkien to Sanderson, and beyond","d7d7efdc-0957-4357-8209-63c1e9e1fb72","#54A6B1","🧙",true,[23],{"authority":24},1,2,"Principles of Fantasy Fiction",9,7,[30,331,535,933,1131,1288,1473],{"id":31,"data":32,"type":27,"maxContentLevel":35,"version":36,"orbs":37},"53a07bad-facd-484f-ab21-4e064a1cb8aa",{"type":27,"title":33,"tagline":34},"What Is Fantasy?","Breaking the laws of possibility",3,5,[38,94,218],{"id":39,"data":40,"type":25,"version":42,"maxContentLevel":35,"summaryPage":43,"introPage":50,"pages":58},"be89ffa8-d979-422c-87e6-0ce2934b3241",{"type":25,"title":41},"What is fantasy?",4,{"id":44,"data":45,"type":35,"maxContentLevel":35,"version":25},"b407dc06-fbad-4d82-a435-b730db3ab33e",{"type":35,"title":46,"summary":47},"What is fantasy? summary",[48,49],"Fantasy fiction is defined by elements that break the laws of possibility","Different people have different definitions of 'possible', which affects how they perceive fantasy",{"id":51,"data":52,"type":53,"maxContentLevel":35,"version":24},"74dfb282-2434-42b9-8ad4-460c0d2b5425",{"type":53,"title":54,"intro":55},10,"What is fantasy? intro",[56,57],"What makes fantasy fiction unique from other genres like science fiction?","How does a reader's belief system influence their perception of a story?",[59,74,80],{"id":60,"data":61,"type":24,"maxContentLevel":35,"version":25,"reviews":65},"ed72fe91-cfcc-449f-8240-f57f303fa3c5",{"type":24,"title":62,"markdownContent":63,"audioMediaId":64},"What is fantasy? page 1","Fantasy fiction is hard to define. Where one story soars with golden dragons, another one creeps through magical woods, or crawls through sewers full of talking rats.\n\n![Graph](image://f8d79f89-ac09-47a9-8669-9d9ce11df3c1 \" \")\n\nIn the last few decades, scholars have established a general principle to connect these different works. Fantasy fiction explores the impossible: from talking rats to walking trees, these stories always contain an element that breaks the laws of possibility.","e7811dc1-19bb-4c58-aa39-dae03898a1e5",[66],{"id":67,"data":68,"type":69,"version":24,"maxContentLevel":35},"1a284f93-cd1d-488f-bca5-020d930d37d5",{"type":69,"reviewType":42,"spacingBehaviour":24,"clozeQuestion":70,"clozeWords":72},11,[71],"Fantasy fiction is defined by elements that break the laws of possibility.",[73],"possibility",{"id":75,"data":76,"type":24,"maxContentLevel":35,"version":25},"7e40f957-481c-4b74-8fdb-f41eaf94f258",{"type":24,"title":77,"markdownContent":78,"audioMediaId":79},"What is fantasy? page 2","Other genres, like science fiction, will push the limits of possibility, but never quite cross the line. Fantasy fiction is unique in this – and without the laws of possibility to restrain it, fantasy stories can take us to places that no other genre can go.\n\nThis definition of fantasy does raise an important question: does it still count as fantasy if the audience believes the impossible elements are possible? For example, most modern readers would say that witches break the rules of possibility, but a lot of people in the 19th century thought the opposite.","9c5cd046-11ae-43e5-9012-72e7056de30f",{"id":81,"data":82,"type":24,"maxContentLevel":35,"version":35,"reviews":86},"9000e0d3-35b0-4d31-afc0-d3d0488dbb6f",{"type":24,"title":83,"markdownContent":84,"audioMediaId":85},"What is fantasy? page 3","If different people have different definitions of possibility, a story which feels like fantasy to one person might feel like realism to another. It all depends on the beliefs of the reader: are these phenomena possible or not?\n\nIn 2014, a study asked children to decide whether stories were fantastical or realistic. The study found that children brought up in a religious environment were less likely to call a story fantastical, even if it included magical elements. Those children thought magic and miracles were possible, where non-religious children did not.","f5870f85-6f65-44d3-bb92-cb5fd5bea9ca",[87],{"id":88,"data":89,"type":69,"version":25,"maxContentLevel":35},"3c2646bf-1510-4ba8-a92d-017372b6d29a",{"type":69,"reviewType":24,"spacingBehaviour":24,"activeRecallQuestion":90,"activeRecallAnswers":92},[91],"According to a 2014 study, what factor influenced children's perception of stories as fantastical or realistic?",[93],"Their religious upbringing",{"id":95,"data":96,"type":25,"version":35,"maxContentLevel":35,"summaryPage":98,"introPage":107,"pages":114},"b9d6722a-c15b-46e2-a4f1-cc08747e171e",{"type":25,"title":97},"Historical fantasy",{"id":99,"data":100,"type":35,"maxContentLevel":35,"version":25},"a9641be0-6241-4791-b8a8-d30b1b20209f",{"type":35,"title":101,"summary":102},"Historical fantasy summary",[103,104,105,106],"The Epic of Gilgamesh (the oldest story ever discovered) featured fantastical beings and monsters","Norse mythology featured shapeshifting gods like Loki, and magical beings like elves and trolls","'One Thousand and One Nights' featured stories of Sinbad the Sailor and Aladdin, filled with fantastical creatures","In the 19th century, Jacob and Wilhelm Grimm collected and wrote down hundreds of European fairy tales",{"id":108,"data":109,"type":53,"maxContentLevel":35,"version":24},"3848da5a-b1d5-444d-a39b-06379a01341c",{"type":53,"title":110,"intro":111},"Historical fantasy intro",[112,113],"What is the oldest example of a fantasy story?","Who were the Brothers Grimm?",[115,142,148,176],{"id":116,"data":117,"type":24,"maxContentLevel":35,"version":25,"reviews":121},"15ab3503-b85c-4d1b-a34d-cd3f4c465346",{"type":24,"title":118,"markdownContent":119,"audioMediaId":120},"Historical fantasy page 1","Fantasy has been a part of literature since the earliest days of storytelling. In the 1850s, archaeologists in Iraq discovered the remains of an ancient tablet, whose fragmented pieces told a story dating back to 2100 BCE.\n\nThis story became known as the *Epic of Gilgamesh*. It features the character of Gilgamesh, a hero who battles fantastical monsters, including a monstrous giant named Humbaba the Terrible. The story also features a magical plant with the power to grant immortality.\n\n![Graph](image://1f6f1305-2a8c-4f80-a12c-84b1aa661103 \" \")\n\nMonstrous giants and magical plants break the laws of possibility, which means the *Epic of Gilgamesh* fits the definition of fantasy. This text is actually the oldest story that archaeologists have ever discovered, which means fantasy fiction might be older than any other genre.","5ba8526e-4719-4096-b48d-30ab67a24add",[122],{"id":123,"data":124,"type":69,"version":24,"maxContentLevel":35},"a0e2473e-b784-456d-abeb-6ea200a622c4",{"type":69,"reviewType":35,"spacingBehaviour":24,"collapsingSiblings":125,"multiChoiceQuestion":129,"multiChoiceCorrect":131,"multiChoiceIncorrect":133,"multiChoiceMultiSelect":6,"multiChoiceRevealAnswerOption":6,"matchPairsQuestion":137,"matchPairsPairs":139},[126,127,128],"1c97f743-21c6-4a58-99db-555f9f0ef86a","320b08b4-4811-4468-9e3c-0378ad4d559b","85797774-0790-48aa-8a2c-e5e8f7c69175",[130],"Which of these characters appears in The Epic of Gilgamesh?",[132],"Humbaba the Terrible",[134,135,136],"Aladdin","Rapunzel","Anodos",[138],"Match the characters to the stories:",[140],{"left":132,"right":141,"direction":35},"The Epic of Gilgamesh",{"id":143,"data":144,"type":24,"maxContentLevel":35,"version":25},"056439b0-4fb0-434a-aed2-e703f86b1a52",{"type":24,"title":145,"markdownContent":146,"audioMediaId":147},"Historical fantasy page 2","Thousands of years after the *Epic of Gilgamesh* was written in ancient Mesopotamia, people were still telling fantastical stories in places like medieval Europe.\n\nThe Norse were renowned for their vivid tales about magical beings, where shapeshifting was a common theme. In different stories, the trickster god Loki transformed himself into a horse, a giant, or a salmon. The Norse also told stories about non-human races, including elves, trolls and dwarves.\n\nAnother fantasy story from the medieval period was *Beowulf* – an Old English poem from the 11th century. It tells the tale of a brave warrior who fights an evil giant and a treasure-hoarding dragon. These monsters symbolize the darker elements of human nature, like violence and greed.","ecf614d3-7d9c-480d-9699-49de99579b8b",{"id":149,"data":150,"type":24,"maxContentLevel":35,"version":25,"reviews":154},"242610be-1c6e-418f-b702-234a5388ef57",{"type":24,"title":151,"markdownContent":152,"audioMediaId":153},"Historical fantasy page 3","While stories like *Beowulf* were being written in medieval Europe, similar stories were being told in the Middle East. Between the 8th century and the 13th century, Islamic scholars compiled these stories into a collection known as *One Thousand and One Nights*.\n\nThis collection included iconic stories like *Sinbad the Sailor*, about a seafaring hero who travels the world. During his voyages, he encounters fantastical creatures, like giant birds called Rocs, and a whale so large that trees are growing on its back.\n\n![Graph](image://594ff1bf-b2b4-42e1-a50d-63d82b1c03d0 \" \")\n\nA late addition to the collection was the story of Aladdin, about a young man who is tricked by an evil sorcerer into entering a magical cave. Inside the cave, Aladdin discovers an enchanted lamp. When he rubs the lamp, a djinn (genie) appears, and helps Aladdin become rich and powerful.","a3b4f067-b990-43a5-bd74-b9c1a52b6c77",[155,165],{"id":156,"data":157,"type":69,"version":24,"maxContentLevel":35},"0e05084e-8be5-4c14-b21b-15c103ec084f",{"type":69,"reviewType":35,"spacingBehaviour":24,"multiChoiceQuestion":158,"multiChoiceCorrect":160,"multiChoiceIncorrect":162,"multiChoiceMultiSelect":6,"multiChoiceRevealAnswerOption":6},[159],"In one Islamic story, which seafaring hero meets a whale so large that trees are growing on its back?",[161],"Sinbad",[134,163,164],"Beowulf","Shahryār",{"id":126,"data":166,"type":69,"version":24,"maxContentLevel":35},{"type":69,"reviewType":35,"spacingBehaviour":24,"collapsingSiblings":167,"multiChoiceQuestion":168,"multiChoiceCorrect":170,"multiChoiceIncorrect":171,"multiChoiceMultiSelect":6,"multiChoiceRevealAnswerOption":6,"matchPairsQuestion":172,"matchPairsPairs":173},[123,127,128],[169],"Which of these characters appears in One Thousand and One Nights?",[134],[132,135,136],[138],[174],{"left":161,"right":175,"direction":35},"One Thousand and One Nights",{"id":177,"data":178,"type":24,"maxContentLevel":35,"version":35,"reviews":182},"c0b8e4ba-1bda-476a-99ba-28e968175396",{"type":24,"title":179,"markdownContent":180,"audioMediaId":181},"Historical fantasy page 4","In 19th century Germany, two brother academics – Jacob and Wilhelm Grimm – decided to compile a written collection of European fairy tales. Some of these stories had been around for centuries, but never officially written down.\n\n*Grimms' Fairy Tales* included plenty of fantastical elements. One of the most famous examples is *Hansel and Gretel*, a story about a pair of children who encounter a witch in the depths of the forest. The witch tries to eat the children, but the children trick her, and manage to escape.\n\n![Graph](image://f23484bf-1521-473b-b397-59353a937212 \" \")\n\nAnother story, *Rapunzel* is about a young woman with long hair who is imprisoned in a tower by an enchantress. A prince discovers the tower, and asks Rapunzel to lower her hair from the window. He uses the hair as a ladder, and the two of them fall in love.","b256a3c0-bb34-4400-adbc-de4c8b22311c",[183,192,203],{"id":184,"data":185,"type":69,"version":24,"maxContentLevel":35},"1e3c9e62-a7b4-459d-9ed5-49e45faa9751",{"type":69,"reviewType":25,"spacingBehaviour":24,"binaryQuestion":186,"binaryCorrect":188,"binaryIncorrect":190},[187],"In the 19th century, which academic brothers compiled a famous collection of European fairy tales?",[189],"Jacob & Wilhelm Grimm",[191],"Hans & Christian Andersen",{"id":127,"data":193,"type":69,"version":24,"maxContentLevel":35},{"type":69,"reviewType":35,"spacingBehaviour":24,"collapsingSiblings":194,"multiChoiceQuestion":195,"multiChoiceCorrect":197,"multiChoiceIncorrect":198,"multiChoiceMultiSelect":6,"multiChoiceRevealAnswerOption":6,"matchPairsQuestion":199,"matchPairsPairs":200},[123,126,128],[196],"Which of these characters appears in Grimms' Fairy Tales?",[135],[132,134,136],[138],[201],{"left":135,"right":202,"direction":35},"Grimms' Fairy Tales",{"id":204,"data":205,"type":69,"version":24,"maxContentLevel":35},"a3413137-745f-4dd8-b124-9ae1c1f2d1fb",{"type":69,"reviewType":206,"spacingBehaviour":24,"matchPairsQuestion":207,"matchPairsPairs":209,"matchPairsShowExamples":6},6,[208],"Match the pairs below:",[210,212,214,216],{"left":211,"right":141,"direction":35},"Mesopotamia",{"left":213,"right":163,"direction":35},"England",{"left":215,"right":175,"direction":35},"Middle East",{"left":217,"right":202,"direction":35},"Germany",{"id":219,"data":220,"type":25,"version":42,"maxContentLevel":35,"summaryPage":222,"introPage":230,"pages":237},"ef3e4f2f-4602-4a7e-8b0e-02b34b0d248d",{"type":25,"title":221},"Modern fantasy",{"id":223,"data":224,"type":35,"maxContentLevel":35,"version":25},"da00ea89-63ac-48be-8ff2-f303f5035e97",{"type":35,"title":225,"summary":226},"Modern fantasy summary",[227,228,229],"The first fantasy novel was George MacDonald's 'Phantastes', published in 1858","'Snow White and the Seven Dwarfs' was the first animated fantasy film","Modern fantasy has branched into subgenres like high fantasy and urban fantasy",{"id":231,"data":232,"type":53,"maxContentLevel":35,"version":24},"57b625ce-98d5-47b6-aa4d-18df544f1266",{"type":53,"title":233,"intro":234},"Modern fantasy intro",[235,236],"Who was the author of the first official fantasy novel?","How has the fantasy genre evolved across modern mediums?",[238,256,273,287],{"id":239,"data":240,"type":24,"maxContentLevel":35,"version":25,"reviews":244},"2bce2140-c829-4691-8971-2dc8dc573063",{"type":24,"title":241,"markdownContent":242,"audioMediaId":243},"Modern fantasy page 1","The long history of fantastical stories reached a peak in the 19th century, with the publication of the first fantasy novels. These books adopted some of the themes and tropes from older literature, like magic and dragons, but threw them against the backdrop of a longer, more sophisticated plot.\n\nThe first official fantasy novel was George MacDonald's *Phantastes*, originally published in 1858. Across several hundred pages, the story follows Anodos, a young man who enters a dreamlike land of fairies. This groundbreaking book inspired later authors, like C.S. Lewis and J.R.R. Tolkien.\n\n![Graph](image://ce5f34c5-c314-40ca-bee7-eb39caf815aa \" \")\n\nIn the decades since, fantasy novels have been hugely popular all around the world. In a list of the twenty best-selling novels of all time, more than half the list is fantasy fiction, including *Harry Potter*, *The Hobbit*, and *The Lion, the Witch and the Wardrobe*.","9b9b4445-46e6-4d36-abbb-ebb16d6f909b",[245],{"id":128,"data":246,"type":69,"version":24,"maxContentLevel":35},{"type":69,"reviewType":35,"spacingBehaviour":24,"collapsingSiblings":247,"multiChoiceQuestion":248,"multiChoiceCorrect":250,"multiChoiceIncorrect":251,"multiChoiceMultiSelect":6,"multiChoiceRevealAnswerOption":6,"matchPairsQuestion":252,"matchPairsPairs":253},[123,126,127],[249],"Which of these characters appears in Phantastes?",[136],[132,134,135],[138],[254],{"left":136,"right":255,"direction":35},"Phantastes",{"id":257,"data":258,"type":24,"maxContentLevel":35,"version":25,"reviews":262},"8d07c3e2-2dd9-48fb-a4ec-512f4d7262fe",{"type":24,"title":259,"markdownContent":260,"audioMediaId":261},"Modern fantasy page 2","Alongside fantasy novels, the 19th century also saw the creation of the world’s first fantasy movies. One of the earliest was *Cinderella*, directed by Georges Méliès in 1899. This adaptation of a Grimm fairy tale used special effects to bring the story’s magic to life.\n\nAfterwards, this film inspired countless filmmakers who wanted to explore the visual power of fantasy. In 1937, Walt Disney released *Snow White and the Seven Dwarfs*. This was one of the first ever animated feature-length films, and another adaptation of a Grimm fairy tale.\n\nDecades later, Peter Jackson directed a three-part adaptation of *The Lord of the Rings*. In the history of cinema, no single film has won more Oscars than the third film in the trilogy: *The Return of the King*.","ea319679-44d3-4756-9f7f-7aaba002357d",[263],{"id":264,"data":265,"type":69,"version":24,"maxContentLevel":35},"4b76f3fb-5d3a-49b9-b0d8-e726b34bc197",{"type":69,"reviewType":35,"spacingBehaviour":24,"multiChoiceQuestion":266,"multiChoiceCorrect":268,"multiChoiceIncorrect":270,"multiChoiceMultiSelect":6,"multiChoiceRevealAnswerOption":6},[267],"In 1937, Disney released an adaptation of which Grimm fairy tale?",[269],"Snow White",[271,135,272],"Cinderella","Briar Rose",{"id":274,"data":275,"type":24,"maxContentLevel":35,"version":25,"reviews":279},"570aaed3-cb15-4f08-88bc-072062709b23",{"type":24,"title":276,"markdownContent":277,"audioMediaId":278},"Modern fantasy page 3","As well as books and films, fantasy also appears in interactive games. For example, *Dungeons & Dragons* was first released in the 1970s. This tabletop game lets players assume the roles of characters, from half-orc druids to elven rogues, and embark on adventures in a collaborative fantasy world.\n\n![Graph](image://a81e1121-0aee-41e6-838a-3ef438481d82 \" \")\n\nIn the 1990s, this concept inspired video games series like *The Elder Scrolls*. These open-world games provide players with landscapes to explore, and narratives to unravel, pushing the limits of the fantasy genre as a medium for entertainment.\n\nIt makes sense that fantasy lends itself well to interactive games. This is a genre without rules, where imaginations are allowed to run wild. In an interactive game, where players are able to choose their own path, there is even more freedom than there is in a book or film.","d16af03c-d5c4-4eb5-a00d-75083afb0d4e",[280],{"id":281,"data":282,"type":69,"version":24,"maxContentLevel":35},"3eb7ed33-8c73-48cb-b455-f0fced631d9f",{"type":69,"reviewType":24,"spacingBehaviour":24,"activeRecallQuestion":283,"activeRecallAnswers":285},[284],"What tabletop game, released in the 1970s, allows players to assume the roles of characters in a collaborative fantasy world?",[286],"Dungeons & Dragons",{"id":288,"data":289,"type":24,"maxContentLevel":35,"version":25,"reviews":293},"bbf359d1-6433-449f-8d8e-912b67c2266b",{"type":24,"title":290,"markdownContent":291,"audioMediaId":292},"Modern fantasy page 4","As fantasy fiction has become more and more popular, it has branched into a number of subgenres. For example, high fantasy focuses on epic adventures in grand, alternative worlds. *The Lord of the Rings* is the most iconic example, with its bearded wizards and sword-bearing knights.\n\nUrban fantasy blends magical elements with contemporary urban settings, like Neil Gaiman's *Neverwhere*, which explores a hidden world below the streets of London, complete with a society of talking rats.\n\nParanormal romance fuses magical beings with love stories. Stephenie Meyer’s *Twilight* books are a popular example, with their romantic entanglements between humans, vampires and werewolves.\n\nThere are plenty of other fantasy subgenres, but they all have something in common. These stories all contain an element that breaks the laws of possibility.","1e7aeb66-4d8b-4d51-a697-fb2d147a5226",[294,301,320],{"id":295,"data":296,"type":69,"version":24,"maxContentLevel":35},"37fa5692-3d2a-4fb5-a745-6bd463db4ff3",{"type":69,"reviewType":42,"spacingBehaviour":24,"clozeQuestion":297,"clozeWords":299},[298],"High fantasy, urban fantasy and paranormal romance are examples of fantasy subgenres.",[300],"subgenres",{"id":302,"data":303,"type":69,"version":24,"maxContentLevel":35},"af544a1a-d96b-4904-98c4-4d8739f6e485",{"type":69,"reviewType":35,"spacingBehaviour":24,"collapsingSiblings":304,"multiChoiceQuestion":308,"multiChoiceCorrect":310,"multiChoiceIncorrect":312,"multiChoiceMultiSelect":6,"multiChoiceRevealAnswerOption":6,"matchPairsQuestion":316,"matchPairsPairs":317},[305,306,307],"34c3ef14-0117-40a7-8c41-81b8720891e4","5b0d5760-9bb6-4b9a-9d66-aa45171f6e46","eb8bd0d9-a25f-452d-bcae-20b4f1b7ef01",[309],"Who was the first fantasy novelist (Phantastes)?",[311],"George MacDonald",[313,314,315],"Georges Méliès","Dante Alighieri","Saint Hildegard",[208],[318],{"left":311,"right":319,"direction":35},"First fantasy novelist (Phantastes)",{"id":305,"data":321,"type":69,"version":24,"maxContentLevel":35},{"type":69,"reviewType":35,"spacingBehaviour":24,"collapsingSiblings":322,"multiChoiceQuestion":323,"multiChoiceCorrect":325,"multiChoiceIncorrect":326,"multiChoiceMultiSelect":6,"multiChoiceRevealAnswerOption":6,"matchPairsQuestion":327,"matchPairsPairs":328},[302,306,307],[324],"Who was the first fantasy director (Cinderella)?",[313],[311,314,315],[208],[329],{"left":313,"right":330,"direction":35},"First fantasy director (Cinderella)",{"id":332,"data":333,"type":27,"maxContentLevel":35,"version":42,"orbs":336},"747bdfb2-cdce-4e31-92ee-fd651e0e425b",{"type":27,"title":334,"tagline":335},"The Lord of The Rings","Tolkien's iconic legendarium",[337,436],{"id":338,"data":339,"type":25,"version":35,"maxContentLevel":35,"summaryPage":341,"introPage":350,"pages":357},"e31896f4-bbdf-450d-92b9-6f332e037efe",{"type":25,"title":340},"JRR Tolkien",{"id":342,"data":343,"type":35,"maxContentLevel":35,"version":25},"2900efb5-7d30-4f72-b8c9-53ec2e8db7c3",{"type":35,"title":344,"summary":345},"JRR Tolkien summary",[346,347,348,349],"Tolkien was born in South Africa in 1892 and moved to England at a young age","He studied English Literature at Oxford University and served in World War I","He became a professor at Oxford University and was inspired by Norse and English mythology","His views on storytelling were influenced by his Catholic faith and belief in mythopoeia",{"id":351,"data":352,"type":53,"maxContentLevel":35,"version":24},"4d1d4538-2b93-4c93-811a-2d81b56c051a",{"type":53,"title":353,"intro":354},"JRR Tolkien intro",[355,356],"When did Tolkien first start creating fantasy worlds and languages?","How did Tolkien's religious beliefs influence his views on storytelling?",[358,395,409],{"id":359,"data":360,"type":24,"maxContentLevel":35,"version":25,"reviews":364},"828dadc6-7b9e-4b45-aeae-bd24873107d1",{"type":24,"title":361,"markdownContent":362,"audioMediaId":363},"JRR Tolkien page 1","In the field of fantasy fiction, John Ronald Reuel Tolkien is an iconic figure. Understanding him as a man, and as a creator of worlds, is an important step towards understanding fantasy in general.\n\n![Graph](image://8695622a-50c1-4db6-b8c5-3802200e4fb2 \" \")\n\nTolkien was born in South Africa in 1892, but moved to England at the age of three, and spent the rest of his childhood growing up there. As a boy, he enjoyed reading fairy tales, and also had a passion for language. He even invented a simple language called Nevbosh, or ‘new nonsense’.\n\nAs a teenager, he went to Oxford University to study English Literature, but his academic endeavors were interrupted by the outbreak of World War I. He enlisted as a second lieutenant, but like many soldiers, was horrified by the devastation wrought by modern warfare.","66f1906d-8a4a-4700-bf2d-9e331064a45e",[365,376],{"id":366,"data":367,"type":69,"version":24,"maxContentLevel":35},"0f3a7b15-ef0c-4361-99c0-7e1bbb4d5d8d",{"type":69,"reviewType":35,"spacingBehaviour":24,"multiChoiceQuestion":368,"multiChoiceCorrect":370,"multiChoiceIncorrect":372,"multiChoiceMultiSelect":6,"multiChoiceRevealAnswerOption":6},[369],"What did Tolkien study at Oxford University?",[371],"Literature",[373,374,375],"Linguistics","History","Philosophy",{"id":377,"data":378,"type":69,"version":24,"maxContentLevel":35},"d5eb0fe8-b7ba-4cae-9767-5902bdb303e6",{"type":69,"reviewType":35,"spacingBehaviour":24,"collapsingSiblings":379,"multiChoiceQuestion":383,"multiChoiceCorrect":385,"multiChoiceIncorrect":387,"multiChoiceMultiSelect":6,"multiChoiceRevealAnswerOption":6,"matchPairsQuestion":391,"matchPairsPairs":392},[380,381,382],"408e735e-c755-4a46-b5fd-fb4e81fda242","c2aa2789-6eeb-4887-ad23-40f277f6f97f","1c1d3bde-620b-44b0-b1a6-069174cee58d",[384],"Which of these best describes Nevbosh?",[386],"A simple language created by Tolkien",[388,389,390],"A language in the 'Skyrim' video game","A language created by David J. Peterson ","A runic alphabet created by Tolkien",[208],[393],{"left":394,"right":386,"direction":35},"Nevbosh",{"id":396,"data":397,"type":24,"maxContentLevel":35,"version":25,"reviews":401},"a96a52d6-a102-4bb8-a9e6-1425d3e4d48b",{"type":24,"title":398,"markdownContent":399,"audioMediaId":400},"JRR Tolkien page 2","After World War I, Tolkien decided to pursue a career in academia. At the age of 28, he became a scholar at Leeds University, where he specialized in Old English. He was also interested in Norse language, and founded the Viking Club – a group where people met up to study Icelandic sagas.\n\n![Graph](image://7a824aee-9c70-4619-b1fa-9817f5364b3b \" \")\n\nAfter five years at Leeds, he took a job at Oxford University in 1925, becoming a professor of Anglo-Saxon studies. Around this time, he also finished an ambitious translation of *Beowulf*, which he had been working on for several years.\n\nAll the while, he was developing ideas about something he referred to as the Cauldron of Story. He imagined that all the myths and fairy tales ever conceived were bubbling away in a collective pot of storytelling. New myths emerged when someone dipped a ladle into the story cauldron, and pulled up something new.","36d11509-e233-4906-a0c2-cd620ba23e22",[402],{"id":403,"data":404,"type":69,"version":24,"maxContentLevel":35},"2cfeb09f-4714-4fca-8716-d5cc9d291cbb",{"type":69,"reviewType":24,"spacingBehaviour":24,"activeRecallQuestion":405,"activeRecallAnswers":407},[406],"What term did Tolkien use to describe the collective source of all myths and fairy tales?",[408],"The Cauldron of Story",{"id":410,"data":411,"type":24,"maxContentLevel":35,"version":25,"reviews":415},"c05a5bb9-f05e-4377-881d-077accd7dbba",{"type":24,"title":412,"markdownContent":413,"audioMediaId":414},"JRR Tolkien page 3","Tolkien’s views on storytelling were closely linked to his views on religion. As a devout Catholic, Tolkien believed that God was a creator, and the act of creation was divine. When humans engaged in their own creations, it was a form of religious worship.\n\nThe form of creation which interested him most was mythopoeia – the process of creating myths. He decided to try this process for himself, and started to develop a fantasy world with its own languages, races and themes. His work was deeply inspired by his extensive studies of Old Norse and English mythology.\n\nAt the time, Tolkien had no plans to publish his work, or to seek a career as an author. His creative process was all about worship, with an edge of academic endeavor. In terms of the Cauldron of Story, he was trying his hand at dipping a ladle into the pot.","711c1dbe-89ca-47ca-ab4d-8fd01a69391c",[416,425],{"id":417,"data":418,"type":69,"version":24,"maxContentLevel":35},"87ef0180-c887-40c4-bb9b-e0d08d2b5ef1",{"type":69,"reviewType":25,"spacingBehaviour":24,"binaryQuestion":419,"binaryCorrect":421,"binaryIncorrect":423},[420],"What term did Tolkien use to describe the process of creating myths?",[422],"Mythopoeia",[424],"Glossopoeia",{"id":426,"data":427,"type":69,"version":24,"maxContentLevel":35},"08f7c59c-eee5-4082-acae-a3127c76c0cc",{"type":69,"reviewType":35,"spacingBehaviour":24,"multiChoiceQuestion":428,"multiChoiceCorrect":430,"multiChoiceIncorrect":432,"multiChoiceMultiSelect":6,"multiChoiceRevealAnswerOption":6},[429],"What was Tolkien's primary motivation for creating myths?",[431],"Religious worship",[433,434,435],"Financial success","Academic endeavor","Entertainment",{"id":437,"data":438,"type":25,"version":35,"maxContentLevel":35,"summaryPage":440,"introPage":449,"pages":456},"4e006f08-6735-4f43-a737-561b37f243d8",{"type":25,"title":439},"Middle-earth",{"id":441,"data":442,"type":35,"maxContentLevel":35,"version":25},"7f82a3b5-e1b2-4353-8f8c-23ffaf8a61ed",{"type":35,"title":443,"summary":444},"Middle-earth summary",[445,446,447,448],"Tolkien was inspired by Norse mythology when he created Middle-earth","Middle-earth was populated by fantastical races including elves, dwarves, and hobbits","Tolkien developed languages for the races of Middle-earth, and named this process glossopoeia","Tolkien's stories, including 'The Hobbit' and 'The Lord of the Rings', became classics of English literature",{"id":450,"data":451,"type":53,"maxContentLevel":35,"version":24},"8ba05274-dbad-44ce-b7ea-b26b7dc82860",{"type":53,"title":452,"intro":453},"Middle-earth intro",[454,455],"What inspired Tolkien to create the unique races and languages in Middle-earth?","Who was the first intended audience for 'The Hobbit'?",[457,470,485,503,517],{"id":458,"data":459,"type":24,"maxContentLevel":35,"version":25,"reviews":463},"b1ad9285-2d10-4a5c-931f-5423871b7078",{"type":24,"title":460,"markdownContent":461,"audioMediaId":462},"Middle-earth page 1","When Tolkien constructed his fantasy world, he referred to it as Middle-earth. This name was inspired by Midgard, one of the nine realms in Norse mythology, and the home of human beings.\n\n![Graph](image://b9b5dd79-a6b5-456c-8a23-a18d277b4c18 \" \")\n\nTolkien populated his world with fantastical races, including elves and dwarves. Tolkien’s elves were wise and graceful, while his dwarves were skilled and fierce. Again, Tolkien took inspiration from Norse mythology, which also featured elves and dwarves.\n\nTolkien also invented races of his own. Hobbits were one unique addition: small, nature-loving people, who lived in holes, and walked around on large, hairy feet. They echoed other fantastical races, like brownies and leprechauns, but still felt like something new.","85d0f5c7-f1f0-4535-ac58-ad0f48373a19",[464],{"id":465,"data":466,"type":69,"version":24,"maxContentLevel":35},"cab7518c-ad39-4c31-99fa-2dde1120090c",{"type":69,"reviewType":24,"spacingBehaviour":24,"activeRecallQuestion":467,"activeRecallAnswers":469},[468],"What name did Tolkien give to his fantasy world, inspired by Midgard from Norse mythology?",[439],{"id":471,"data":472,"type":24,"maxContentLevel":35,"version":25,"reviews":476},"5b808ce1-787e-4dd2-9b91-89760a5ad7a4",{"type":24,"title":473,"markdownContent":474,"audioMediaId":475},"Middle-earth page 2","Tolkien constructed fantasy languages to be used by the races who lived in Middle-earth. He called this process glossopoeia – the act of creating languages.\n\nThese languages are probably the greatest testament to Tolkien's skill as a worldbuilder. As a professor of language, he channeled everything he knew, drawing heavily on northern european languages. For example, Quenya – the melodious language of immortal elves – was inspired by the grammar and phonology of Finnish.\n\nGlossopoeia was Tolkien’s greatest passion, and the driving force behind his fantasy world. He did not create these languages to add color to Middle-earth. He created Middle-earth to add color to his languages, and give them a place to live.","eba67ad8-cbe0-442b-9c99-b7b06471ed2d",[477],{"id":478,"data":479,"type":69,"version":24,"maxContentLevel":35},"31bb3d43-9d0f-4ebf-aeac-9595567525e5",{"type":69,"reviewType":25,"spacingBehaviour":24,"binaryQuestion":480,"binaryCorrect":482,"binaryIncorrect":483},[481],"What term did Tolkien use for the process of creating languages?",[424],[484],"Linguopoeia",{"id":486,"data":487,"type":24,"maxContentLevel":35,"version":25,"reviews":491},"2f7df310-500a-4002-adb7-c7497ad55e6f",{"type":24,"title":488,"markdownContent":489,"audioMediaId":490},"Middle-earth page 3","While creating Middle-earth, full of magical races and constructed languages, there were only four people Tolkien wanted to share it with: his small children, John, Michael, Christopher and Priscilla.\n\nHe wrote a story set in his fantastical world, and read it to his children at bedtime. The story followed Bilbo Baggins, a brave hobbit on a journey with a wizard and thirteen dwarves, who wanted to reclaim their home from an ancient dragon. He named this story *The Hobbit*.\n\nWhen his children enjoyed it, Tolkien decided to share the book with friends. One way or another, the story ended up in front of Susan Dagnall, an employee at a major publishing house. She persuaded Tolkien to publish the book, and *The Hobbit* became an instant classic.","46b7c065-0572-426d-83b2-a609417002d6",[492],{"id":493,"data":494,"type":69,"version":24,"maxContentLevel":35},"f4003818-2330-4cba-aeff-1807c66e33cd",{"type":69,"reviewType":35,"spacingBehaviour":24,"multiChoiceQuestion":495,"multiChoiceCorrect":497,"multiChoiceIncorrect":499,"multiChoiceMultiSelect":6,"multiChoiceRevealAnswerOption":6},[496],"When Tolkien first wrote 'The Hobbit', what was his intended audience?",[498],"His children",[500,501,502],"His friends","His colleagues","His students",{"id":504,"data":505,"type":24,"maxContentLevel":35,"version":25,"reviews":509},"cb34be08-b976-43a9-9978-79cc752900a4",{"type":24,"title":506,"markdownContent":507,"audioMediaId":508},"Middle-earth page 4","After the success of *The Hobbit*, people clamored for Tolkien to write a sequel. He delved deeper into the world of Middle-earth, and came up with another epic story: *The Lord of the Rings*. It would be significantly longer than *The Hobbit*, and tackle some darker themes.\n\nFor a creator as meticulous as Tolkien, creating this story took time. Along with the main text, he also created maps, illustrations, calligraphy, and poetry. The entire process took more than a decade; he started writing in 1937, but did not finish until 1949.\n\nThe story was about another hobbit, Frodo Baggins, on a journey to destroy an all-powerful ring before it fell into the hands of the Dark Lord who created it. Just like *The Hobbit*, this story was wildly successful, and went on to become one of the best-selling stories of all time.","fbf70e35-a152-408b-93a3-f0536cc6f28f",[510],{"id":511,"data":512,"type":69,"version":24,"maxContentLevel":35},"8549a021-59df-4dcb-bfba-88397305e082",{"type":69,"reviewType":24,"spacingBehaviour":24,"activeRecallQuestion":513,"activeRecallAnswers":515},[514],"What epic story did Tolkien create as a sequel to 'The Hobbit'?",[516],"The Lord of the Rings",{"id":518,"data":519,"type":24,"maxContentLevel":35,"version":25,"reviews":523},"8eeb9b83-0332-445a-85e7-1695140bdf83",{"type":24,"title":520,"markdownContent":521,"audioMediaId":522},"Middle-earth page 5","In 1973, Tolkien passed away at the age of 81, but Middle-earth lived on without him. Along with his published works, he had written a staggering quantity of notes which had never been seen by the public.\n\nHis son, Christopher, collected these notes, and structured them into readable bodies of text. He published them as a series of volumes, including *The Silmarillion*, an anthology of shorter myths and legends from the world of Middle-earth.\n\nIn the decades since, Tolkien has inspired thousands of modern authors. He may not have invented fantasy fiction, but his devotion to worldbuilding transformed it. Not many writers have influenced a genre to the same extent that Tolkien influenced fantasy.","0c0df8a0-48e3-4ddc-8ed6-c890aa47d3f4",[524],{"id":525,"data":526,"type":69,"version":24,"maxContentLevel":35},"71ab5099-45f7-4916-bae6-384d4985391b",{"type":69,"reviewType":35,"spacingBehaviour":24,"multiChoiceQuestion":527,"multiChoiceCorrect":529,"multiChoiceIncorrect":531,"multiChoiceMultiSelect":6,"multiChoiceRevealAnswerOption":6},[528],"What is the name of the anthology of Middle-earth myths and legends published after Tolkien's death?",[530],"The Silmarillion",[532,533,534],"The Ainulindalë","The Numerian","The Valaquenta",{"id":536,"data":537,"type":27,"maxContentLevel":35,"version":35,"orbs":540},"63e02058-4dc3-46c9-9799-079f0b1fac05",{"type":27,"title":538,"tagline":539},"Building Worlds","How writers construct their worlds",[541,618,748,805],{"id":542,"data":543,"type":25,"version":25,"maxContentLevel":35,"summaryPage":545,"introPage":553,"pages":560},"ccad968d-eadc-4817-ab48-6621f83f2535",{"type":25,"title":544},"What is worldbuilding?",{"id":546,"data":547,"type":35,"maxContentLevel":35,"version":24},"3d3f71cc-f274-41ed-bfaa-0621ca9994c1",{"type":35,"title":548,"summary":549},"What is worldbuilding? summary",[550,551,552],"Tolkien coined the term Secondary World in his essay 'On Fairy-Stories'","Dante Alighieri was the first worldbuilder with the 'Divine Comedy'","Worldbuilders often use real-life settings as templates, like pseudo-medieval and steampunk",{"id":554,"data":555,"type":53,"maxContentLevel":35,"version":24},"08a30782-ec93-4803-85ee-1e71b2b5c915",{"type":53,"title":556,"intro":557},"What is worldbuilding? intro",[558,559],"Who was the first known worldbuilder?","What are some common worldbuilding templates?",[561,577,595],{"id":562,"data":563,"type":24,"maxContentLevel":35,"version":24,"reviews":567},"6011b691-26c8-448b-b594-75a2dabbe7b4",{"type":24,"title":564,"markdownContent":565,"audioMediaId":566},"What is worldbuilding? page 1","A fantasy world can also be called a Secondary World. This term was coined by J.R.R. Tolkien in his famous essay, *On Fairy-Stories*. He contrasted it to the Primary World, which is the version of the world we actually live in.\n\nIn any work of fantasy, the Secondary World did not blink into being of its own accord. Somebody needed to design that world, working hard to come up with a setting, a history, a culture and more. This process is known as worldbuilding – the meticulous process of constructing an imaginary world.\n","d1705897-70cf-4d72-8ff0-c2e2e36c8fe2",[568],{"id":569,"data":570,"type":69,"version":24,"maxContentLevel":35},"8090eed2-d415-4d60-83bd-036d0b52443c",{"type":69,"reviewType":35,"spacingBehaviour":24,"multiChoiceQuestion":571,"multiChoiceCorrect":573,"multiChoiceIncorrect":574,"multiChoiceMultiSelect":6,"multiChoiceRevealAnswerOption":6},[572],"Who coined the term Secondary World in his famous essay, 'On Fairy-Stories'?",[340],[575,311,576],"CS Lewis","William Morris",{"id":578,"data":579,"type":24,"maxContentLevel":35,"version":25,"reviews":583},"16304a1e-9816-4a09-ab44-6bf634907e79",{"type":24,"title":580,"markdownContent":581,"audioMediaId":582},"What is worldbuilding? page 2","\nTolkien is probably the most famous example of a worldbuilder, but he was not the first. That title goes to Dante Alighieri, who wrote the *Divine Comedy* at the start of the 14th century. This work may not officially count as fantasy, but it definitely counts as worldbuilding.\n\n![Graph](image://ef22d0ab-08e9-462c-a4c8-c71d2b90b3d6 \" \")\n\nDante constructed a vision of the afterlife, complete with Nine Circles of Hell. Each Circle has a sense of culture and place, and together, give the sense of a Secondary World. Other writers have been building Secondary Worlds in the centuries ever since.\n","9ff4d8cf-f848-454b-b293-c0a3db739bfc",[584],{"id":306,"data":585,"type":69,"version":24,"maxContentLevel":35},{"type":69,"reviewType":35,"spacingBehaviour":24,"collapsingSiblings":586,"multiChoiceQuestion":587,"multiChoiceCorrect":589,"multiChoiceIncorrect":590,"multiChoiceMultiSelect":6,"multiChoiceRevealAnswerOption":6,"matchPairsQuestion":591,"matchPairsPairs":592},[302,305,307],[588],"Who was the first worldbuilder (The Divine Comedy)?",[314],[311,313,315],[208],[593],{"left":314,"right":594,"direction":35},"First worldbuilder (The Divine Comedy)",{"id":596,"data":597,"type":24,"maxContentLevel":35,"version":25,"reviews":601},"8cf54929-483a-4fd8-982e-9739a1f92da9",{"type":24,"title":598,"markdownContent":599,"audioMediaId":600},"What is worldbuilding? page 3","\nBuilding a world from scratch takes a lot of time, which is why worldbuilders often use a real-life setting as a template. This setting functions like a canvas, with the worldbuilder painting new details on top until they create something fresh and unique.\n\nThe most common template is something known as pseudo-medieval: a romanticized version of the Middle Ages, complete with knights, castles and kings. A lot of Secondary Worlds are based on this template, but with some magical details, like wizards and dragons, added in.\n\nSteampunk is another example. This template is based on the industrial era of Victorian England, complete with steam-powered machines and top hats. Shenmo, meanwhile, is a template based on folklore in Classical China. Even Tolkien used a template: medieval Scandinavia.\n","c467b3f8-fef8-47c4-aa2d-40cb6b876643",[602],{"id":603,"data":604,"type":69,"version":24,"maxContentLevel":35},"753628d9-d8f5-4b39-913a-fb1ea3c5e9d4",{"type":69,"reviewType":206,"spacingBehaviour":24,"matchPairsQuestion":605,"matchPairsPairs":606,"matchPairsShowExamples":6},[208],[607,610,613,616],{"left":608,"right":609,"direction":35},"Steampunk stories","Victorian England",{"left":611,"right":612,"direction":35},"Shenmo stories","Classical China",{"left":614,"right":615,"direction":35},"Pseudo-medieval stories","Middle Ages",{"left":516,"right":617,"direction":35},"Medieval Scandinavia",{"id":619,"data":620,"type":25,"version":35,"maxContentLevel":35,"summaryPage":622,"introPage":630,"pages":637},"31a50dd9-e350-4b88-aa68-d98a8f5ab005",{"type":25,"title":621},"What do worlds need?",{"id":623,"data":624,"type":35,"maxContentLevel":35,"version":25},"5a90660e-4328-444f-b7ad-5242a6abffe6",{"type":35,"title":625,"summary":626},"What do worlds need? summary",[627,628,629],"Secondary Worlds in the fantasy genre will often include a magic system","Fantastical races and constructed languages can add depth and diversity to a Secondary World","Local cultures, traditions, history and geography can make a Secondary World feel authentic",{"id":631,"data":632,"type":53,"maxContentLevel":35,"version":25},"76bdacb9-d2bc-483d-8a39-23fc9e98d96f",{"type":53,"title":633,"intro":634},"What do worlds need? intro",[635,636],"What are the key components of a Secondary World?","How do writers use these components?",[638,656,685,703,709,723],{"id":639,"data":640,"type":24,"maxContentLevel":35,"version":25,"reviews":644},"93712d0c-e5e5-4ab6-aa15-8963b1e8a653",{"type":24,"title":641,"markdownContent":642,"audioMediaId":643},"What do worlds need? page 1","After choosing a template for their Secondary World, one of the first things a fantasy worldbuilder adds is usually a type of magic system.\n\nMagic is not an essential component of a Secondary World, but if that world is meant to break the laws of possibility, magic is a good place to start.\n\nA famous magic system was created by Robert Jordan for his world in *The Wheel of Time*. This world is based on a pseudo-medieval template, but with a type of magic called the One Power. This magic is channeled differently depending on the gender of the user.\n\nA magic system will have knock-on effects on the rest of the Secondary World. For example, if magic can be used to make food, does the world need farms and farmers? If magic can be used as a source of light, does the world need electricity?","8b4058fa-5b26-4bd0-912f-b0277ff3aedf",[645],{"id":646,"data":647,"type":69,"version":24,"maxContentLevel":35},"85956e91-4a50-4f7f-b718-75555fe74291",{"type":69,"reviewType":35,"spacingBehaviour":24,"multiChoiceQuestion":648,"multiChoiceCorrect":650,"multiChoiceIncorrect":652,"multiChoiceMultiSelect":6,"multiChoiceRevealAnswerOption":6},[649],"What is the name of the magic system in Robert Jordan's 'The Wheel of Time'?",[651],"The One Power",[653,654,655],"The True Power","The Old Power","The Deep Power",{"id":657,"data":658,"type":24,"maxContentLevel":35,"version":35,"reviews":662},"1b55e529-64eb-413a-bc24-7a106d581d17",{"type":24,"title":659,"markdownContent":660,"audioMediaId":661},"What do worlds need? page 2","Many Secondary Worlds are inhabited by humans, but in a lot of cases, worldbuilders choose to add fantastical races too. Classic examples are elves and dwarves, but there are lots of different examples.\n\nChina Miéville's *Perdido Street Station* uses a grubby, industrial, Victorian city as a template for its Secondary World. This city is inhabited by a number of species, including insect-like humanoids called Khepri, and a race of bird-people called Garuda.\n\n![Graph](image://b4cc31ad-cfe9-4d8e-be5d-7f842d2341f0 \" \")\n\nJust like the general setting of the world, writers often use templates for their races. For example, Miéville's fantastical races are based on real-world insects and birds. In other stories, like the *Harry Potter* series, the world is inhabited by centaurs, a race drawn from Greek mythology.","da7bf3e1-34ca-4894-91f4-4838a69d67d0",[663,674],{"id":664,"data":665,"type":69,"version":24,"maxContentLevel":35},"3511e42d-bb81-4a1a-b01e-a2ef4096a509",{"type":69,"reviewType":35,"spacingBehaviour":24,"multiChoiceQuestion":666,"multiChoiceCorrect":668,"multiChoiceIncorrect":670,"multiChoiceMultiSelect":6,"multiChoiceRevealAnswerOption":6},[667],"What type of animal are the Khepri based on in China Miéville's 'Perdido Street Station'?",[669],"Insects",[671,672,673],"Birds","Fish","Reptiles",{"id":675,"data":676,"type":69,"version":24,"maxContentLevel":35},"db84a3a7-82e5-4188-8f9c-eb0cba914d14",{"type":69,"reviewType":35,"spacingBehaviour":24,"multiChoiceQuestion":677,"multiChoiceCorrect":679,"multiChoiceIncorrect":681,"multiChoiceMultiSelect":6,"multiChoiceRevealAnswerOption":6},[678],"In fantasy books, like 'Harry Potter', centaurs are inspired by which real-life mythology?",[680],"Greek",[682,683,684],"Norse","Egyptian","Roman",{"id":686,"data":687,"type":24,"maxContentLevel":35,"version":25,"reviews":691},"1a2d914b-b3f2-47bf-9190-d224518405d4",{"type":24,"title":688,"markdownContent":689,"audioMediaId":690},"What do worlds need? page 3","If a Secondary World includes different races, or even just different tribes of humans, it makes sense that these groups would speak some different languages.\n\nSome writers take the time to write conlangs – or constructed languages – to provide more depth to their world. A notable example is Dovahzul, a language that appears in the *Skyrim* fantasy video game. It is officially the language of dragons, but it can also be used by other races as a means of casting spells.\n\n![Graph](image://4acdb8a9-8fcb-44c6-8174-0b3b84ec589e \" \")\n\nWorldbuilders might use real languages as a template. For example, Dovahzul was inspired by Old English, plus some elements of Swedish and German. The written version of the language was based on ancient cuneiform, and designed to look like scratch marks made by a dragon’s claw.","2a0d0abe-8db1-4830-9ef0-2f47cb9261ae",[692],{"id":380,"data":693,"type":69,"version":24,"maxContentLevel":35},{"type":69,"reviewType":35,"spacingBehaviour":24,"collapsingSiblings":694,"multiChoiceQuestion":695,"multiChoiceCorrect":697,"multiChoiceIncorrect":698,"multiChoiceMultiSelect":6,"multiChoiceRevealAnswerOption":6,"matchPairsQuestion":699,"matchPairsPairs":700},[377,381,382],[696],"Which of these best describes Dovahzul?",[388],[386,389,390],[208],[701],{"left":702,"right":388,"direction":35},"Dovahzul",{"id":704,"data":705,"type":24,"maxContentLevel":35,"version":35},"bf74c58b-ed42-4a0e-ad43-5f3735636c80",{"type":24,"title":706,"markdownContent":707,"audioMediaId":708},"What do worlds need? page 4","When it comes to worldbuilding, a Secondary World can be enhanced by adding a sense of local culture. In the Primary World, every place has its own traditions, fashions and architectural styles, and a Secondary World needs these too.\n\nA striking example is the island of Kekon, in Fonda Lee's *Green Bone Saga*. This unique environment showcases a blend of Asian-inspired culture, with intricate descriptions of jade jewelry, noodle dishes, and other local customs.\n\n![Graph](image://e702589f-8280-45fa-aec4-3911f6efbe65 \" \")\n\nIn the same world is the island of Espenia; it has an American-inspired culture, which contrasts sharply with the cultural details in Kekon. In real life, even neighboring villages have cultural quirks, and different regions in a Secondary World should have cultural differences too.","4b2b5764-ad82-4746-ba61-7fa9f7a46f5c",{"id":710,"data":711,"type":24,"maxContentLevel":35,"version":25,"reviews":715},"33e279e4-dd2a-4fcd-9b45-a7b2c0d23110",{"type":24,"title":712,"markdownContent":713,"audioMediaId":714},"What do worlds need? page 5","A Secondary World will feel stronger and deeper if it features a sense of history. When a reader feels as though the fantasy world just popped into existence on page one of the book, it does not feel authentic.\n\nIn Patrick Rothfuss' *The Kingkiller Chronicle*, the people living in the Secondary World tell stories and sing songs about historical events. There is a sense that these songs have been passed through generations. The entire world feels more real, and lived in, with this clear sense of past.\n\nIn fantasy writing, the history of the world is often referred to as lore. Sometimes, a piece of lore feels concrete, like the date of a historical battle. At other times, it leans towards myth and legend, like a song about how a tribe of gods created the world’s first humans.","01862742-8c11-49f1-b9e2-51951ac14de0",[716],{"id":717,"data":718,"type":69,"version":24,"maxContentLevel":35},"010990ac-b483-4468-a8ba-859795cf732c",{"type":69,"reviewType":24,"spacingBehaviour":24,"activeRecallQuestion":719,"activeRecallAnswers":721},[720],"In fantasy writing, the history of the world is often referred to as:",[722],"Lore",{"id":724,"data":725,"type":24,"maxContentLevel":35,"version":35,"reviews":729},"284c404e-7d9d-49a6-a85a-581b5fbaa476",{"type":24,"title":726,"markdownContent":727,"audioMediaId":728},"What do worlds need? page 6","Along with societal details, like history and culture, worldbuilders also need to consider the physical geography of the Secondary World. This includes the shapes of continents, the positions of mountains, even climate patterns and the location of natural resources.\n\nThe Al-Rassan setting in Guy Gavriel Kay's *The Lions of Al-Rassan* is based on the geography of the Iberian Peninsula. The land is divided into different kingdoms, all of them competing for limited space, with the ocean pinning them on three sides. The climate is hot and dry, and two moons hover in the sky.\n\n![Graph](image://a17963db-a3f0-4c09-9f93-97d3c7008edf \" \")\n\nSome worldbuilders come up with visual maps to give their readers a picture of the world as physical, geographical settings. This is especially helpful when characters travel, and readers need to know how far it is between the start and the destination.","f236e6f7-2a7f-4e40-8021-c0c2da2a26a6",[730,739],{"id":731,"data":732,"type":69,"version":24,"maxContentLevel":35},"7136686d-e253-4452-b671-fcc435e6b5e5",{"type":69,"reviewType":25,"spacingBehaviour":24,"binaryQuestion":733,"binaryCorrect":735,"binaryIncorrect":737},[734],"In Guy Gavriel Kay's 'The Lions of Al-Rassan', the geographical setting is inspired by which real world location?",[736],"The Iberian Peninsula",[738],"The Italian Peninsula",{"id":740,"data":741,"type":69,"version":24,"maxContentLevel":35},"b76a023a-4625-44d0-b171-a036410842fc",{"type":69,"reviewType":25,"spacingBehaviour":24,"binaryQuestion":742,"binaryCorrect":744,"binaryIncorrect":746},[743],"The Dovahzul conlang was mainly inspired by which three real world languages?",[745],"Old English, Swedish, German",[747],"Latin, French, Greek",{"id":749,"data":750,"type":25,"version":25,"maxContentLevel":35,"summaryPage":752,"introPage":760,"pages":767},"419cf4cc-7e00-43c3-a8dc-b4fdafb4b393",{"type":25,"title":751},"Different approaches",{"id":753,"data":754,"type":35,"maxContentLevel":35,"version":25},"8005e441-f65b-4153-bd77-b41dcbac1745",{"type":35,"title":755,"summary":756},"Different approaches summary",[757,758,759],"Outside-in worldbuilding starts by building the broader world, before narrowing in to the specifics","Inside-out worldbuilding starts by building a specific detail, before broadening out to the wider world","Inferred worldbuilding can hide the holes in a Secondary World by letting the reader's imagination fill the gaps",{"id":761,"data":762,"type":53,"maxContentLevel":35,"version":24},"b1ff756f-fc73-454b-9371-95acf48a0378",{"type":53,"title":763,"intro":764},"Different approaches intro",[765,766],"What is the difference between outside-in and inside-out worldbuilding?","What is inferred worldbuilding?",[768,791],{"id":769,"data":770,"type":24,"maxContentLevel":35,"version":24,"reviews":774},"eba8fc19-480d-4005-8f4f-e8580eb34509",{"type":24,"title":771,"markdownContent":772,"audioMediaId":773},"Different approaches page 1","When putting together all the different elements of a Secondary World, worldbuilders can take two very different approaches. These are often referred to as outside-in and inside-out, and they are generally just a matter of preference.\n\nUsing the outside-in method, a worldbuilder starts with a broader world, often thinking about the physical geography of the continents. From there, they start to narrow in on specific details, until they get down to the level of tiny villages, and the individuals who live there.\n\nThe inside-out method is the opposite. These worldbuilders start with something niche and narrow, like a village at the edge of a forest, or even a single character. They expand outwards from there, fleshing out the world as they build toward a global scale.\n\n![Graph](image://1c1a46cf-e179-4ad2-89f6-d74e836a3ed4 \" \")\n","2e2346ae-a144-4cf4-98f7-f7bc5553a575",[775,784],{"id":776,"data":777,"type":69,"version":24,"maxContentLevel":35},"73ec4714-75c6-4179-9d85-914139dfb328",{"type":69,"reviewType":25,"spacingBehaviour":24,"binaryQuestion":778,"binaryCorrect":780,"binaryIncorrect":782},[779],"What is the starting point for the outside-in method of worldbuilding?",[781],"The broader world",[783],"The narrow details",{"id":785,"data":786,"type":69,"version":24,"maxContentLevel":35},"0294846b-63f8-436e-b054-84ab4750cffc",{"type":69,"reviewType":25,"spacingBehaviour":24,"binaryQuestion":787,"binaryCorrect":789,"binaryIncorrect":790},[788],"What is the starting point for the inside-out method of worldbuilding?",[783],[781],{"id":792,"data":793,"type":24,"maxContentLevel":35,"version":24,"reviews":797},"125bceaf-14a5-4f9b-8e93-e620c2800172",{"type":24,"title":794,"markdownContent":795,"audioMediaId":796},"Different approaches page 2","\nWhen it comes to worldbuilding, one thing is certain: a Secondary World will always have some holes in it. No one has time to think of a culture for every single tiny village, or a unique geography for every part of the world.\n\nTo hide these holes, writers use a technique called inferred worldbuilding. This is when they hint at something, but let the reader fill in the gaps. For example, the story might mention a strange-looking hut. The reader will try to imagine who lives there, without needing to know that the writer does not know the answer.\n\nThis process is all about balance: give just enough details to make the world feel real, then let the reader’s imagination do the rest. Ultimately, constructing an entire world is impossible, but with inferred worldbuilding, a writer does not need to.\n","be0c509b-5d6c-450a-82b0-3b810ec88495",[798],{"id":799,"data":800,"type":69,"version":24,"maxContentLevel":35},"9a3bff5e-e739-4a01-8c6d-1ecdd1e75609",{"type":69,"reviewType":42,"spacingBehaviour":24,"clozeQuestion":801,"clozeWords":803},[802],"Inferred worldbuilding is when a writer hints at something, but lets the reader's imagination fill in the gaps.",[804],"Inferred",{"id":806,"data":807,"type":25,"version":35,"maxContentLevel":35,"summaryPage":809,"introPage":818,"pages":825},"060a831b-60d5-4f80-8ad9-ab96b990da83",{"type":25,"title":808},"Four types of world",{"id":810,"data":811,"type":35,"maxContentLevel":35,"version":25},"35c03ac5-6823-402c-bb50-b2471b0f6b67",{"type":35,"title":812,"summary":813},"Four types of world summary",[814,815,816,817],"Immersive fantasy stories are set in a completely different world","Portal fantasies involve characters stumbling into a magical world through a gateway","Intrusive fantasies feature elements from a magical world encroaching on the primary world","Liminal fantasies blur the lines between fantasy and reality",{"id":819,"data":820,"type":53,"maxContentLevel":35,"version":24},"50d05ef5-9226-4dea-ae8b-a1e67d9a473d",{"type":53,"title":821,"intro":822},"Four types of world intro",[823,824],"What are the four categories of Secondary World?","Do all Secondary Worlds fit these categories?",[826,842,856,879,894,900],{"id":827,"data":828,"type":24,"maxContentLevel":35,"version":25,"reviews":832},"fa4a7265-ce69-4959-b6bc-3bc5f2499fcf",{"type":24,"title":829,"markdownContent":830,"audioMediaId":831},"Four types of world page 1","In Tolkien’s stories, the Primary World and the Secondary World are separate entities, but other writers have linked their worlds together.\n\nIn *The Chronicles of Narnia*, the Secondary World and the Primary World are connected by a portal at the back of a wardrobe. In *Harry Potter*, the Primary World and the Secondary World co-exist, with some elements shared and others accessible only by magical means.\n\n![Graph](image://fb3f5e6b-a608-4606-a340-a634602b3539 \" \")\n\nIn 2008, Farah Mendlesohn – an academic historian – studied a range of fantasy novels written in the last few decades. She identified four approaches to the link between Primary and Secondary Worlds: immersive, portal, intrusive, and liminal.","ea266f9c-b7e0-40fc-a6e6-a6c95ce7049c",[833],{"id":834,"data":835,"type":69,"version":24,"maxContentLevel":35},"c796e188-e660-4bc6-92a8-a86c1e8bf111",{"type":69,"reviewType":25,"spacingBehaviour":24,"binaryQuestion":836,"binaryCorrect":838,"binaryIncorrect":840},[837],"Which academic historian studied the links between Primary Worlds and Secondary Worlds in fantasy fiction?",[839],"Farah Mendlesohn",[841],"Colin Manlove",{"id":843,"data":844,"type":24,"maxContentLevel":35,"version":25,"reviews":848},"9198d897-22d6-4d12-b6bb-dd7d148f5ec0",{"type":24,"title":845,"markdownContent":846,"audioMediaId":847},"Four types of world page 2","An immersive fantasy is a story about a Secondary World with no links or connections to our own. Maybe it is set on a faraway planet, or in a completely different dimension. The characters in these stories never interact with the Primary World – the Secondary is all they know.\n\nAs a reader, these stories are rich and immersive. They thrust us into impossible worlds unlike anything we have seen before. Place names are different, races are different, even physics are different, with magic often commonplace.\n\n*The Lord of the Rings* is a classic example, along with urban fantasies like *Perdido Street Station*, a story set in an industrialized, magical city. Whatever the setting, immersive fantasy relies on detailed world-building. For the Secondary World to feel real, it requires a lot of depth.","ce534b86-ed40-4dd4-8e35-432bf085de86",[849],{"id":850,"data":851,"type":69,"version":24,"maxContentLevel":35},"53616fcd-a49a-4432-b648-4b683f35c2d7",{"type":69,"reviewType":24,"spacingBehaviour":24,"activeRecallQuestion":852,"activeRecallAnswers":854},[853],"What type of fantasy story is about a Secondary World with no links or connections to our own?",[855],"Immersive fantasy",{"id":857,"data":858,"type":24,"maxContentLevel":35,"version":35,"reviews":862},"0a4f2db1-e603-4f30-addd-4034152719f5",{"type":24,"title":859,"markdownContent":860,"audioMediaId":861},"Four types of world page 3","Portal fantasies are stories in which a magical gateway connects the Primary World to the Secondary World. A character from the Primary World will often stumble by chance into the Secondary World, then struggle to find their way back.\n\nThere are countless examples, from *The Chronicles of Narnia* to *The Wizard of Oz*. In Japan, portal fantasies are called ‘isekai’. Hundreds of Japanese books, films, anime, and games fall into this category.\n\n![Graph](image://f71ac24c-6128-4607-adcd-458e72890d56 \" \")\n\nThe lost character in a portal fantasy might function as a reader surrogate. As they encounter a world for the very first time, we share their feelings of surprise and wonder. This is very different to an immersive fantasy, where the characters are already familiar with the world; what seems strange to the reader might not seem strange to them.","695622b5-a830-40ce-980b-d4b43ba23385",[863,870],{"id":864,"data":865,"type":69,"version":24,"maxContentLevel":35},"939fbcea-8fc5-448d-a0f3-15ee6bf2d2c6",{"type":69,"reviewType":42,"spacingBehaviour":24,"clozeQuestion":866,"clozeWords":868},[867],"In portal fantasies, a magical gateway connects the Primary World to the Secondary World.",[869],"portal",{"id":871,"data":872,"type":69,"version":24,"maxContentLevel":35},"7bb060ce-77bf-46fc-a0fd-c00320cba3c2",{"type":69,"reviewType":25,"spacingBehaviour":24,"binaryQuestion":873,"binaryCorrect":875,"binaryIncorrect":877},[874],"What is the Japanese term for portal fantasy stories?",[876],"Isekai",[878],"Ikigai",{"id":880,"data":881,"type":24,"maxContentLevel":35,"version":25,"reviews":885},"9fbd19e6-052b-424e-bede-730747ea409b",{"type":24,"title":882,"markdownContent":883,"audioMediaId":884},"Four types of world page 4","Intrusive fantasies are superficially set in the Primary World, but in a place where elements from a Secondary World have found a way to encroach. It is the opposite of a portal fantasy: instead of a character entering a Secondary World, the Secondary World comes to us.\n\nOften, these intrusions are malevolent, like a magical monster turning up in the middle of a town. The monster disrupts the status quo of the local community, which might come together to chase it away – or in some cases, find a way to build a new life alongside it.\n\nIn *Jonathan Strange & Mr Norrell*, by Susanna Clarke, malevolent faeries find a way to enter 19th century England, bringing magical misfortune with them. Another famous example is Bram Stoker’s *Dracula*, about a vampire who arrives in the seaside town of Whitby.","8b09f7f5-b116-4b4f-a6c4-b6e85b2772f5",[886],{"id":887,"data":888,"type":69,"version":24,"maxContentLevel":35},"d4b798e7-108a-4982-aa39-97eadfc645a8",{"type":69,"reviewType":42,"spacingBehaviour":24,"clozeQuestion":889,"clozeWords":891},[890],"In intrusive fantasies, elements from the Secondary World find a way to encroach on the Primary World.",[892,893],"intrusive","Primary",{"id":895,"data":896,"type":24,"maxContentLevel":35,"version":35},"b4794066-a5a4-497e-aafb-6e1a6b0586a9",{"type":24,"title":897,"markdownContent":898,"audioMediaId":899},"Four types of world page 5","Liminal fantasies are stories with small, fantastical elements hovering at the edge of the plot. These elements are often so faint and subtle that the reader wonders if they are there at all. Is this story taking place in a Primary World or a Secondary World?\n\nLiminal fantasies are rare, but one famous example is *Wizard of the Pigeons* by Megan Lindholm. In this story, a homeless man wanders the streets of Seattle. He presents himself as a wizard, but readers suspect he is deluded. Maybe the magic only exists in this man’s broken mind.\n\n![Graph](image://66f506db-22d2-4245-8ecb-071b92af3cc6 \" \")\n\nStories like this one blur the lines between reality and fantasy, and encourage readers to question their assumptions about the Primary World. If we saw the same world, through another person’s eyes, would it suddenly feel magical?","3bd3440a-1cb2-4c67-af4c-df328a3c6c09",{"id":901,"data":902,"type":24,"maxContentLevel":35,"version":25,"reviews":906},"590233c0-c52c-4996-9788-cbfa26b4da12",{"type":24,"title":903,"markdownContent":904,"audioMediaId":905},"Four types of world page 6","When Mendlesohn outlined her four types of fantasy, she made it clear that stories can be hard to classify. J.K. Rowling's *Harry Potter* series initially feels like an intrusive fantasy, as Hagrid the half-giant turns up on Harry’s doorstep. Later, it becomes a portal fantasy, as Harry enters the magical world through a gateway in London’s King’s Cross station.\n\n![Graph](image://6997dfc4-f2f5-431f-85c3-330e5ebe16ec \" \")\n\nPhilip Pullman's *His Dark Materials* is another good example. This series starts off as an immersive fantasy set in a magical version of Oxford. But later, it evolves into an intrusive fantasy, when the characters living in this Secondary World find a way to enter our Primary World.\n\nFantasy fiction is supposed to break free from conventions, and challenge the rules of possibility. Because of this, it makes sense that certain fantasy stories also challenge the rules of categorization.","0c940c41-ee1f-4b0d-b201-dc2004719e5d",[907,916,927],{"id":908,"data":909,"type":69,"version":24,"maxContentLevel":35},"09a98c91-ccc5-47c4-a856-ca6f1a44b12a",{"type":69,"reviewType":25,"spacingBehaviour":24,"binaryQuestion":910,"binaryCorrect":912,"binaryIncorrect":914},[911],"What is a famous example of a liminal fantasy?",[913],"Wizard of the Pigeons",[915],"Jonathan Strange & Mr Norrell",{"id":917,"data":918,"type":69,"version":24,"maxContentLevel":35},"fa3843e8-4d03-4580-8120-8891c5f5c359",{"type":69,"reviewType":35,"spacingBehaviour":24,"multiChoiceQuestion":919,"multiChoiceCorrect":921,"multiChoiceIncorrect":923,"multiChoiceMultiSelect":6,"multiChoiceRevealAnswerOption":6},[920],"Which classic novel is an example of intrusive fantasy?",[922],"Dracula",[924,925,926],"Moby Dick","Frankenstein","Bleak House",{"id":928,"data":929,"type":69,"version":24,"maxContentLevel":35},"8c7318ce-312a-4f7a-b515-4d053698ad8c",{"type":69,"reviewType":42,"spacingBehaviour":24,"clozeQuestion":930,"clozeWords":932},[931],"The Harry Potter series starts as an intrusive fantasy, but later becomes a portal fantasy.",[869],{"id":934,"data":935,"type":27,"maxContentLevel":35,"version":42,"orbs":938},"5513390a-bcff-468f-b66b-4e5ec5e49433",{"type":27,"title":936,"tagline":937},"Magic Systems","Spells and sorcerers in fantasy",[939,1015],{"id":940,"data":941,"type":25,"version":35,"maxContentLevel":35,"summaryPage":943,"introPage":952,"pages":959},"f2467199-1861-4b35-9416-b3e8dd051f69",{"type":25,"title":942},"What is magic?",{"id":944,"data":945,"type":35,"maxContentLevel":35,"version":25},"266d9fea-9c5d-40c2-b953-77491c481e9a",{"type":35,"title":946,"summary":947},"What is magic? summary",[948,949,950,951],"Magic can be defined as special powers that make something happen that would otherwise be impossible","Hard magic systems follow distinct sets of rules, which leaves a reader feeling more grounded","Soft magic systems don't follow any rules, which leaves a reader feeling more awed","In fantasy, magic can often be used for good or evil, depending on the intentions of the user",{"id":953,"data":954,"type":53,"maxContentLevel":35,"version":24},"225199bc-323d-48aa-86a9-14d984512d7c",{"type":53,"title":955,"intro":956},"What is magic? intro",[957,958],"How have magic systems evolved from ancient civilizations to modern fiction?","How do hard and soft magic systems differ in their impact on a reader?",[960,978,1001],{"id":961,"data":962,"type":24,"maxContentLevel":35,"version":25,"reviews":966},"93ad49cd-8f6d-4665-b00a-72ac4fd8d319",{"type":24,"title":963,"markdownContent":964,"audioMediaId":965},"What is magic? page 1","A definition of magic goes something like this: using special powers to make something happen that would otherwise be impossible. From curses to charms, magic systems are the backbone of fantasy fiction.\n\nThe concept of magic has been around since the dawn of human history. In Ancient Mesopotamia, incantations were carved into stone tablets, and in Ancient Egypt, they were written on the back of amulets. Later, people in Europe wrote grimoires – books full of spells and rituals.\n\n![Graph](image://02d878ee-4fed-41a3-b6af-fd4ed5c34854 \" \")\n\nExamples like these laid the groundwork for modern fantasy, with many writers taking inspiration from magical beliefs in the past. It is hard to know which writer first did this, but by the time of Tolkien, it was well established. In *The Lord of the Rings*, magical power is subtle and mysterious, and wielded by wizards and elves.","7f5e9fe9-32db-4717-8754-1745234b80fe",[967],{"id":968,"data":969,"type":69,"version":24,"maxContentLevel":35},"050387a2-9983-4288-84fb-12985873658b",{"type":69,"reviewType":35,"spacingBehaviour":24,"multiChoiceQuestion":970,"multiChoiceCorrect":972,"multiChoiceIncorrect":974,"multiChoiceMultiSelect":6,"multiChoiceRevealAnswerOption":6},[971],"A grimoire is a book of what?",[973],"Spells and rituals",[975,976,977],"Historical records","Fictional stories","Scientific research",{"id":979,"data":980,"type":24,"maxContentLevel":35,"version":25,"reviews":984},"9bb7f9f5-ffab-4704-9bbf-3743ed75c630",{"type":24,"title":981,"markdownContent":982,"audioMediaId":983},"What is magic? page 2","Brandon Sanderson is a well-respected fantasy writer who published his first book in 2005. A few years later, he put forward the concept of two types of magic system: hard and soft.\n\nHard magic systems are characterized by well-defined rules. For example, in Sanderson’s own books, his magic systems operate on principles akin to scientific laws. These laws are explained to the reader in detail, which lets them understand and predict the outcomes of magical actions.\n\nSoft magic systems are more ambiguous, with the rules never fully explained. *The Lord of the Rings* exemplifies this, with its enigmatic wizards whose powers are strange and unknowable.\n\nA soft magic system can evoke more wonder in the reader, but a hard magic system leaves them feeling more grounded in the world. There are strengths and weaknesses to both of these approaches, and it usually depends on the writer’s personal tastes.","543b3b2f-ccd2-464b-94aa-3717213dd85d",[985,994],{"id":986,"data":987,"type":69,"version":24,"maxContentLevel":35},"25eacba2-17fe-40a0-89ef-6d6661cbc61f",{"type":69,"reviewType":25,"spacingBehaviour":24,"binaryQuestion":988,"binaryCorrect":990,"binaryIncorrect":992},[989],"What is a defining characteristic of hard magic systems?",[991],"Well-defined rules",[993],"Mystery and wonder",{"id":995,"data":996,"type":69,"version":24,"maxContentLevel":35},"12fa7d4f-44a0-4190-a546-a71da8544935",{"type":69,"reviewType":25,"spacingBehaviour":24,"binaryQuestion":997,"binaryCorrect":999,"binaryIncorrect":1000},[998],"What is a defining characteristic of soft magic systems?",[993],[991],{"id":1002,"data":1003,"type":24,"maxContentLevel":35,"version":25,"reviews":1007},"f2bda8d2-cfae-4a12-a908-f63c9924e453",{"type":24,"title":1004,"markdownContent":1005,"audioMediaId":1006},"What is magic? page 3","In fantasy fiction, magic is rarely presented as inherently good or bad. Instead, it depends on the intentions of the person using it. It is the same with any form of power – it can be wielded in different ways.\n\nDark witches and wizards are the characters in a story who use their magic for the wrong reasons. In the *Harry Potter* series, the dark wizard Voldemort uses something called the Unforgivable Curses: spells associated with torture, mind control, and death.\n\n![Graph](image://3c6da27a-7239-44f9-bb22-4f97c64f93ec \" \")\n\nDark wizards are often the main antagonist in a fantasy story, with other characters setting out on a quest to stop them from achieving their goals. It is a recurring theme in fantasy fiction: the struggle between good and evil.","ddd2d7f5-66e5-44c9-9e79-e0518656d889",[1008],{"id":1009,"data":1010,"type":69,"version":24,"maxContentLevel":35},"c36a841e-ecdf-431c-a277-aba49ea8d9eb",{"type":69,"reviewType":24,"spacingBehaviour":24,"activeRecallQuestion":1011,"activeRecallAnswers":1013},[1012],"In 'Harry Potter', what name is given to the spells associated with torture, mind control, and death.",[1014],"Unforgivable Curses",{"id":1016,"data":1017,"type":25,"version":35,"maxContentLevel":35,"summaryPage":1019,"introPage":1027,"pages":1034},"254f8ed2-a491-4e22-ad48-161a4fcdf7d3",{"type":25,"title":1018},"Types of magic",{"id":1020,"data":1021,"type":35,"maxContentLevel":35,"version":25},"e552c26b-83fc-4241-aaa1-91c2d8f9151b",{"type":35,"title":1022,"summary":1023},"Types of magic summary",[1024,1025,1026],"Fantasy might feature different types of magic, such as scrying or runic magic","Magic users in fantasy fiction will often attend a magical school in order to hone their skills","Physical items like wands and artifacts might be used as conduits for spells in fantasy stories",{"id":1028,"data":1029,"type":53,"maxContentLevel":35,"version":24},"96885041-55af-4ad2-a12b-9c81d5f59a1f",{"type":53,"title":1030,"intro":1031},"Types of magic intro",[1032,1033],"What is the role of physical objects in channeling spells in fantasy fiction?","How do limitations and costs add tension and excitement to a magic system?",[1035,1058,1072,1090,1104],{"id":1036,"data":1037,"type":24,"maxContentLevel":35,"version":35,"reviews":1041},"7ab70083-0f7a-44ac-86d2-b40884a87ff5",{"type":24,"title":1038,"markdownContent":1039,"audioMediaId":1040},"Types of magic page 1","There are a number of different types of magic in works of fantasy fiction. For example, scrying involves peering into a magical mirror, and catching a glimpse of the future. In *The Lord of the Rings*, the elf-queen Galadriel uses a basin of water to divine what might happen next.\n\nAnother type is runic magic, which uses ancient symbols to imbue objects with power. For instance, Tolkien's Doors of Durin, also known as the West-gate of Moria, have an inscription in the runic Elvish script of Cirth. Gandalf uses his knowledge of this runic language to decipher the riddle and open the door.\n\nThere are plenty of other examples, and each one has its own narrative and thematic implications. A story about wizards using necromancy will have a very different mood to a story about scrying or runes.\n\n![Graph](image://4ce4fb03-364e-4fe0-80ef-2c9e85c563a9 \" \")\n","c28070b5-2254-40b8-bb24-dc7d21a37407",[1042,1049],{"id":1043,"data":1044,"type":69,"version":24,"maxContentLevel":35},"c2b14c19-3409-4fa0-aea3-cef12f27d1b4",{"type":69,"reviewType":24,"spacingBehaviour":24,"activeRecallQuestion":1045,"activeRecallAnswers":1047},[1046],"In fantasy fiction, what is scrying?",[1048],"Using a mirror to see the future",{"id":1050,"data":1051,"type":69,"version":24,"maxContentLevel":35},"44cf3e6b-7679-4889-a616-76ee57a91908",{"type":69,"reviewType":25,"spacingBehaviour":24,"binaryQuestion":1052,"binaryCorrect":1054,"binaryIncorrect":1056},[1053],"In fantasy fiction, what is necromancy?",[1055],"Controlling the dead",[1057],"Controlling animals",{"id":1059,"data":1060,"type":24,"maxContentLevel":35,"version":35,"reviews":1064},"aa8cf880-48fe-4fd7-960e-d5efd0f8e2c4",{"type":24,"title":1061,"markdownContent":1062,"audioMediaId":1063},"Types of magic page 2","Magic users are the people in a writer’s Secondary World who are able to use the magic system. Within the context of a story, these users might go by many names, like mages and spellcasters, but the most common is probably wizards.\n\nThe stereotypical wizard is an elderly man with a long white beard and a pointed hat. Tolkien’s wizards, like Gandalf the Gray, are good examples. In *Harry Potter*, Albus Dumbledore also matches this description.\n\nOther writers have broken free from this stereotype. In the 1960s, Ursula K. Le Guin wrote *A Wizard of Earthsea*, about a young boy who learns to use magic. Other books, like Naomi Novik’s *Uprooted*, are about a young woman learning to cast spells.","0fe21572-8b49-41e9-9d21-41b0aec51d98",[1065],{"id":1066,"data":1067,"type":69,"version":24,"maxContentLevel":35},"f27ccb51-4875-4b48-9254-1318d28ed91f",{"type":69,"reviewType":42,"spacingBehaviour":24,"clozeQuestion":1068,"clozeWords":1070},[1069],"The stereotypical wizard is an elderly man with a long white beard and a pointed hat.",[1071],"hat",{"id":1073,"data":1074,"type":24,"maxContentLevel":35,"version":35,"reviews":1078},"7362f81a-e377-4213-b769-9cdd10f8bb62",{"type":24,"title":1075,"markdownContent":1076,"audioMediaId":1077},"Types of magic page 3","A common setting in fantasy fiction is a magical school where magic users go to fine tune their skills. At these institutions, students undergo rigorous training and face various challenges to test their magical prowess.\n\nLev Grossman's *The Magicians* exemplifies this concept, as protagonist Quentin Coldwater enrolls at a school called Brakebills College for Magical Pedagogy. Meanwhile, in Terry Pratchett’s *Discworld* series, prospective wizards can attend a school called the Unseen University.\n\n![Graph](image://f82a1967-ca93-4ded-a01e-d51387d85a5f \" \")\n\nIn most stories, a person is only invited to attend a school if they already have some innate magical ability. A common trope in fantasy fiction is the ‘chosen one’ – a young boy or girl, who discovers some innately magical abilities, and goes on to save the world.","47cc7060-95ea-482c-9c05-6d9947e9412c",[1079],{"id":1080,"data":1081,"type":69,"version":24,"maxContentLevel":35},"4cd0377b-32c4-4e72-8103-2ab03437951c",{"type":69,"reviewType":35,"spacingBehaviour":24,"multiChoiceQuestion":1082,"multiChoiceCorrect":1084,"multiChoiceIncorrect":1086,"multiChoiceMultiSelect":6,"multiChoiceRevealAnswerOption":6},[1083],"Which common trope in fantasy fiction involves a young boy or girl discovering they have magical powers?",[1085],"Chosen one",[1087,1088,1089],"Reluctant hero","Wise mentor","Mystic youth",{"id":1091,"data":1092,"type":24,"maxContentLevel":35,"version":35,"reviews":1096},"a8b686ba-9485-446c-8683-5e6f95334888",{"type":24,"title":1093,"markdownContent":1094,"audioMediaId":1095},"Types of magic page 4","In works of fantasy, physical items often serve as conduits for channeling spells. A common example is a magic wand. J.K. Rowling's *Harry Potter* series features an intricate wand system, where each wand possesses unique properties based on its materials and core components.\n\nOther writers take a different approach, with objects that perform a single function, almost like a magical machine. In Philip Pullman's *His Dark Materials*,' the alethiometer is a magical artifact that allows its user to learn the answer to any question they ask it.\n\nCharacters usually need some pre-existing magical ability to make these objects work. If a non-wizard in *Harry Potter* tries to use a wand, nothing will happen. The object channels magical ability, and in a non-wizard, there is nothing to channel.","18d8e8a8-6049-472d-aca3-31eb348203b1",[1097],{"id":1098,"data":1099,"type":69,"version":24,"maxContentLevel":35},"c86e1549-89dd-4684-8006-3996f334c05a",{"type":69,"reviewType":42,"spacingBehaviour":24,"clozeQuestion":1100,"clozeWords":1102},[1101],"In Philip Pullman's 'His Dark Materials', the alethiometer is a magical artifact with the power to answer any question.",[1103],"alethiometer",{"id":1105,"data":1106,"type":24,"maxContentLevel":35,"version":35,"reviews":1110},"655a4b86-9044-4780-be24-824a619f87b0",{"type":24,"title":1107,"markdownContent":1108,"audioMediaId":1109},"Types of magic page 5","Most fantasy writers want their magic systems to include some costs and limitations. If a magic user has infinite power, every challenge will be conquered with a swish of their wand, and the story will have no sense of narrative tension.\n\nIn Brandon Sanderson's *Mistborn* series, magic users derive their abilities from ingesting specific metals. But these metals are hard to come by, and can kill a person if the metal is impure. Because of this, the magic users must be careful not to waste anything, and only use spells when the situation definitely needs it.\n\nSanderson once said that, when it comes to magic, 'limits and costs are more interesting than powers.' This is a useful rule for fantasy writers. Magic is meant to feel wondrous and exciting, but without some core limitations to keep it grounded, the story will feel dull.\n\n![Graph](image://4fa74712-cc82-4fd5-bfb9-0f8a4b879fac \" \")","48da687a-0f53-4255-9497-0b725f4d93e4",[1111,1120],{"id":1112,"data":1113,"type":69,"version":25,"maxContentLevel":35},"a482230b-ff83-4596-b630-52ad8d95117a",{"type":69,"reviewType":25,"spacingBehaviour":24,"binaryQuestion":1114,"binaryCorrect":1116,"binaryIncorrect":1118},[1115],"When it comes to magic, what does Brandon Sanderson find more interesting: powers or limitations?",[1117],"Limitations",[1119],"Powers",{"id":1121,"data":1122,"type":69,"version":24,"maxContentLevel":35},"acac0fcf-4a11-4798-9981-992a8b7d33bf",{"type":69,"reviewType":35,"spacingBehaviour":24,"multiChoiceQuestion":1123,"multiChoiceCorrect":1125,"multiChoiceIncorrect":1127,"multiChoiceMultiSelect":6,"multiChoiceRevealAnswerOption":6},[1124],"In the 'Mistborn' series, what do magic users need to ingest in order to obtain their abilities?",[1126],"Metals",[1128,1129,1130],"Potions","Salts","Stones",{"id":1132,"data":1133,"type":27,"maxContentLevel":35,"version":42,"orbs":1136},"73abb961-1165-40dd-b986-274e98aba2e4",{"type":27,"title":1134,"tagline":1135},"Constructed Languages","Invented tongues in fantasy",[1137,1194],{"id":1138,"data":1139,"type":25,"version":35,"maxContentLevel":35,"summaryPage":1141,"introPage":1150,"pages":1157},"29a3524e-0b2b-49a0-b458-7b549ebe7216",{"type":25,"title":1140},"What are conlangs?",{"id":1142,"data":1143,"type":35,"maxContentLevel":35,"version":25},"36a278d2-865c-4219-8f5b-6cdd3f35c70f",{"type":35,"title":1144,"summary":1145},"What are conlangs? summary",[1146,1147,1148,1149],"Conlangs are languages which are artificially created, not naturally evolved","Saint Hildegard of Bingen created Lingua ignota, the first ever conglang, in the 12th century","Tolkien crafted multiple conlangs for his Middle-earth races, including Quenya and Sindarin","David J. Peterson created Dothraki and High Valyrian for 'Game of Thrones'",{"id":1151,"data":1152,"type":53,"maxContentLevel":35,"version":24},"f6910f9a-886d-4bc8-8bd1-3d8e9b1b545d",{"type":53,"title":1153,"intro":1154},"What are conlangs? intro",[1155,1156],"Who was the first known person to create a conlang?","How did the creation of conlangs contribute to Middle-earth?",[1158,1176],{"id":1159,"data":1160,"type":24,"maxContentLevel":35,"version":25,"reviews":1164},"3d0bf8d5-3601-4bd5-a061-c6029a0c23c4",{"type":24,"title":1161,"markdownContent":1162,"audioMediaId":1163},"What are conlangs? page 1","A constructed language – or conlang – is any language which was artificially created, as opposed to evolving naturally.\n\nThe earliest example is Lingua ignota, which dates back to the 12th century. Lingua ignota has nothing to do with fantasy fiction. It was created by Saint Hildegard of Bingen, an abbess in medieval Germany. No one quite knows why she created this language, but she seems to have used it for religious reasons, maybe in an effort to communicate with God.\n\n![Graph](image://7a73e0b1-8f9d-4ef4-9712-a5df4ccb283c \" \")\n\nIn terms of fantasy fiction, Tolkien was probably the writer who explored constructed languages to the fullest. He meticulously crafted multiple conlangs for his Middle-earth races, including two versions of Elvish (Quenya and Sindarin), Dwarvish (Khuzdul), and a rough-sounding language called Black Speech, which was used by the forces of evil.","090eb695-ebc4-494c-bd52-99145da1a5a5",[1165],{"id":307,"data":1166,"type":69,"version":24,"maxContentLevel":35},{"type":69,"reviewType":35,"spacingBehaviour":24,"collapsingSiblings":1167,"multiChoiceQuestion":1168,"multiChoiceCorrect":1170,"multiChoiceIncorrect":1171,"multiChoiceMultiSelect":6,"multiChoiceRevealAnswerOption":6,"matchPairsQuestion":1172,"matchPairsPairs":1173},[302,305,306],[1169],"Who was the first creator of a conlang (Lingua ignota)?",[315],[311,313,314],[208],[1174],{"left":315,"right":1175,"direction":35},"First conlang creator (Lingua ignota)",{"id":1177,"data":1178,"type":24,"maxContentLevel":35,"version":25,"reviews":1182},"139bfae8-0f5c-40f0-8346-b2a77077cb80",{"type":24,"title":1179,"markdownContent":1180,"audioMediaId":1181},"What are conlangs? page 2","Coming up with a fully-fledged conlang adds a lot of depth to a Secondary World, but the process is far from easy. As well as grammar and vocabulary, the creator needs to think about idioms, dialects, pronunciation, body language, a system of writing, and more. As an expert in philology – the study of languages – conlangs came naturally to Tolkien.\n\nBut other fantasy writers have had to hire a linguist to help them build a conlang. For example, for the television series *Game of Thrones*, David J. Peterson was hired to create the Dothraki language, and High Valyrian.\n\nPeterson even put together a course on High Valyrian for Duolingo, the popular language-learning app. Users can learn to speak this conlang, and understand the characters in the television series without needing to read the subtitles.","ad8fe3b6-f00d-4096-af8c-ac32157db49c",[1183],{"id":381,"data":1184,"type":69,"version":24,"maxContentLevel":35},{"type":69,"reviewType":35,"spacingBehaviour":24,"collapsingSiblings":1185,"multiChoiceQuestion":1186,"multiChoiceCorrect":1188,"multiChoiceIncorrect":1189,"multiChoiceMultiSelect":6,"multiChoiceRevealAnswerOption":6,"matchPairsQuestion":1190,"matchPairsPairs":1191},[377,380,382],[1187],"Which of these best describes Dothraki?",[389],[386,388,390],[208],[1192],{"left":1193,"right":389,"direction":35},"Dothraki",{"id":1195,"data":1196,"type":25,"version":25,"maxContentLevel":35,"summaryPage":1198,"introPage":1206,"pages":1213},"df8245a6-0117-4f97-a2c5-47d9c2d70983",{"type":25,"title":1197},"Types of conlang",{"id":1199,"data":1200,"type":35,"maxContentLevel":35,"version":25},"dce2d2e2-5768-4104-82fb-bdc67bbcfb69",{"type":35,"title":1201,"summary":1202},"Types of conlang summary",[1203,1204,1205],"Soft conlangs are limited vocabularies sprinkled into narrative stories","Soft conlangs might be used to make magic systems and spellcasting sound authentic","Fantasy worlds will often feature a common tongue, which different races can use to communicate",{"id":1207,"data":1208,"type":53,"maxContentLevel":35,"version":24},"9011c123-0e1e-4e57-bfb9-c50122fb9daa",{"type":53,"title":1209,"intro":1210},"Types of conlang intro",[1211,1212],"What's the difference between a soft conlang and a hard conlang?","How do authors solve the problem of communication between different races in their worlds?",[1214,1228,1242,1260,1274],{"id":1215,"data":1216,"type":24,"maxContentLevel":35,"version":24,"reviews":1220},"7da1fa1f-b387-449e-b661-163ac334ad6f",{"type":24,"title":1217,"markdownContent":1218,"audioMediaId":1219},"Types of conlang page 1","A conlang does not need to be a fully-fledged language, like the ones invented by linguists like Tolkien and Peterson. Most fantasy writers will use a soft conlang instead. This is when they only come up with a limited handful of words, then sprinkle them into the narrative.\n\n![Graph](image://c99d8f4b-6d2c-4669-817b-da1947c1f5e5 \" \")\n\nAn example of a soft conlang can be found in N.K. Jemisin’s *The Fifth Season*. In this story, the characters use words invented by the author. They refer to towns as ‘comms’, and scientists as ‘geomests’. These words are added to English sentences: 'that comm is full of geomests'.\n\nSome fantasy books include a glossary at the back, allowing readers to keep track of the strange vocabulary while navigating the Secondary World. This approach is extremely popular; a sprinkle of vocabulary gives the impression of a language, but does not take as much work.\n","e0ed39d4-e5ad-48e4-933c-23bcc664295d",[1221],{"id":1222,"data":1223,"type":69,"version":24,"maxContentLevel":35},"bc8c44c7-1d4a-4ce7-84b3-72bc43066b43",{"type":69,"reviewType":42,"spacingBehaviour":24,"clozeQuestion":1224,"clozeWords":1226},[1225],"A soft conlang is when a writer only comes up with a handful of words for their fantasy story.",[1227],"soft",{"id":1229,"data":1230,"type":24,"maxContentLevel":35,"version":24,"reviews":1234},"b28e7fcc-7310-4908-adf8-8845df62f601",{"type":24,"title":1231,"markdownContent":1232,"audioMediaId":1233},"Types of conlang page 2","\nA lot of fantasy books include a magical conlang which the characters use to cast their spells. Usually, this will be a soft conlang, using simple strings of impressive-sounding words to make spells sound otherworldly.\n\nIn Naomi Novik’s *Uprooted*, witches and wizards cast their spells by uttering words from an ancient magical language. ‘Fulmia’ makes the ground shake, ‘tihas’ is good for healing, and ‘vanastalem’ dresses the speaker in majestic clothes.\n\nThis idea of an ancient language, with magical properties, is common in fantasy fiction. Ursula K. Le Guin’s *Earthsea* series has Old Speech, which lets magic users manipulate the world around them. Christopher Paolini’s *Inheritance Cycle* has the Ancient Language, which functions in a similar way.\n","0cd1bcdf-6782-400a-9e25-852be18f530b",[1235],{"id":1236,"data":1237,"type":69,"version":24,"maxContentLevel":35},"fbd97422-82e4-45e6-bf41-fdfe3c74bf84",{"type":69,"reviewType":24,"spacingBehaviour":24,"activeRecallQuestion":1238,"activeRecallAnswers":1240},[1239],"What is the name of the magical language in Ursula Le Guin's 'Earthsea' series?",[1241],"Old Speech",{"id":1243,"data":1244,"type":24,"maxContentLevel":35,"version":24,"reviews":1248},"b8e571bb-6903-47d3-871b-4790534ed6e8",{"type":24,"title":1245,"markdownContent":1246,"audioMediaId":1247},"Types of conlang page 3","\nOccasionally, a writer will come up with a visual alphabet to accompany their fantasy conlang. It is difficult to include these alphabets in a book, but sometimes they feature in the cover design, or on an appendix page at the back.\n\nWhen Tolkien designed the Tengwar alphabet for his Elvish languages, he incorporated elegant calligraphic elements, which were meant to represent the elegance of the elves who used them. Some examples of Tengwar have appeared on covers of *The Lord of the Rings*.\n\nEoin Colfer's *Artemis Fowl* series features a runic script called Gnommish. It is a simple alphabet, but it has an interesting purpose. The runes appear at the bottom of pages throughout the books, and when the reader starts to translate them, they stumble across a puzzle.\n","704ccbc9-ab58-48d6-bbad-39e254b3fd95",[1249],{"id":382,"data":1250,"type":69,"version":24,"maxContentLevel":35},{"type":69,"reviewType":35,"spacingBehaviour":24,"collapsingSiblings":1251,"multiChoiceQuestion":1252,"multiChoiceCorrect":1254,"multiChoiceIncorrect":1255,"multiChoiceMultiSelect":6,"multiChoiceRevealAnswerOption":6,"matchPairsQuestion":1256,"matchPairsPairs":1257},[377,380,381],[1253],"Which of these best describes Tengwar?",[390],[386,388,389],[208],[1258],{"left":1259,"right":390,"direction":35},"Tengwar",{"id":1261,"data":1262,"type":24,"maxContentLevel":35,"version":24,"reviews":1266},"170192a9-dd4f-4d76-a114-5e5c872a4142",{"type":24,"title":1263,"markdownContent":1264,"audioMediaId":1265},"Types of conlang page 4","\nFrom a worldbuilding perspective, conlangs raise an important question. If all the races speak different languages, how do they talk to one another? The last thing a fantasy writer wants is a Secondary World where no one is able to communicate.\n\nTo deal with this, writers often include some kind of common tongue, or *Lingua franca*, in their Secondary World – a unifying language that everyone speaks in addition to the language of their race. In private, two elves might communicate in Elvish, but with a dwarf, they would switch to Common.\n\nIn real life, English often functions as a common tongue between people of different nationalities. A Dutch person and a Norwegian person might find themselves using English to communicate, just as an elf and a dwarf would use Common.\n","d6e0a6df-d437-4051-8e34-b885a546c983",[1267],{"id":1268,"data":1269,"type":69,"version":24,"maxContentLevel":35},"ee111a30-eee8-4418-ba82-4073085a78f9",{"type":69,"reviewType":24,"spacingBehaviour":24,"activeRecallQuestion":1270,"activeRecallAnswers":1272},[1271],"In a fantasy book, what is the term for a unifying language that all the different races share?",[1273],"Common tongue",{"id":1275,"data":1276,"type":24,"maxContentLevel":35,"version":24,"reviews":1280},"e5e23a04-0e52-41a8-b386-dca462bdc729",{"type":24,"title":1277,"markdownContent":1278,"audioMediaId":1279},"Types of conlang page 5","\nConlangs are not the only way that language can enhance the immersive qualities of a story. Another element to consider is the author’s style of writing. If the author’s style does not match the world, the reader will not feel immersed.\n\nTolkien’s stories took place in an archaic setting, so he wrote them in an archaic style: 'They spoke ever after the Common Speech, the Westron as it was named.' If he had written the same line in a modern style, it would not have matched the world: 'After that, they started speaking in Common Speech, also called Westron.'\n\nThis concept was discussed by Ursula Le Guin in her iconic essay *From Elfland to Poughkeepsie*. She argued how the author’s style is the most important part of building a fantasy world: 'The act of speech is the act of creation [...] and every word counts.'\n","8c183aa2-194c-4aef-b8bb-aa8563ef147a",[1281],{"id":1282,"data":1283,"type":69,"version":24,"maxContentLevel":35},"7f1809e6-20ae-418c-a7a4-b05c445214d1",{"type":69,"reviewType":24,"spacingBehaviour":24,"activeRecallQuestion":1284,"activeRecallAnswers":1286},[1285],"What does Ursula Le Guin argue is the most important part of building a fantasy world?",[1287],"The author's writing style",{"id":1289,"data":1290,"type":27,"maxContentLevel":35,"version":35,"orbs":1293},"4e6adca2-6f0e-4fc3-85b6-684fa7d5dc18",{"type":27,"title":1291,"tagline":1292},"Impossible Beings","Beasts and beings in fantasy",[1294,1373],{"id":1295,"data":1296,"type":25,"version":25,"maxContentLevel":35,"summaryPage":1298,"introPage":1306,"pages":1313},"c9432aa0-87cc-4efe-84dd-fcce90b10305",{"type":25,"title":1297},"What are impossible beings?",{"id":1299,"data":1300,"type":35,"maxContentLevel":35,"version":25},"0fba7251-3afc-4937-9da6-e4fb5da5804e",{"type":35,"title":1301,"summary":1302},"What are impossible beings? summary",[1303,1304,1305],"The Lion-man of Hohlenstein-Stadel is the oldest known example of an impossible being","Traditional fantasy often portrayed certain fantastical races as inherently evil, but this approach is changing","Romance between different fantastical races has been explored for centuries, with the gender dynamics often favoring men",{"id":1307,"data":1308,"type":53,"maxContentLevel":35,"version":24},"f221430b-4c14-4f1c-a92d-443690eb1252",{"type":53,"title":1309,"intro":1310},"What are impossible beings? intro",[1311,1312],"What's the oldest known example of an impossible being?","How has the portrayal of impossible beings evolved over time?",[1314,1328,1351],{"id":1315,"data":1316,"type":24,"maxContentLevel":35,"version":25,"reviews":1320},"be32b85e-e5e4-4af6-9013-55ec17826e60",{"type":24,"title":1317,"markdownContent":1318,"audioMediaId":1319},"What are impossible beings? page 1","Impossible beings are a cornerstone of fantasy literature: races and creatures that could never exist in the Primary World. *The Lord of the Rings* is a prime example, with its elves, dwarves, orcs and hobbits, not to mention an array of mythical creatures like dragons and giant eagles.\n\nBut the idea of strange, impossible beings pre-dates writers like Tolkien. In fact, it appears to predate writers in general, with primitive sculptures of non-human entities dating back for thousands of years.\n\nOne of the oldest examples is the Lion-man of Hohlenstein-Stadel: a 40,000-year-old sculpture of a humanoid figure with the head of a lion. Impossible beings are an ancient tradition which modern fantasy continues to explore today.\n\n![Graph](image://240dbc36-5b41-40c7-a204-70ae102e64ce 'The Lion-man of Hohlenstein-Stadel. Image: JDuckeck, Public domain, via Wikimedia Commons')\n","0a213a0d-a332-4c98-92e7-ff5170e4786b",[1321],{"id":1322,"data":1323,"type":69,"version":24,"maxContentLevel":35},"41ec0020-8219-46b7-b6fd-491a82fca66b",{"type":69,"reviewType":42,"spacingBehaviour":24,"clozeQuestion":1324,"clozeWords":1326},[1325],"The Lion-man of Hohlenstein-Stadel is a 40,000-year-old sculpture of a humanoid figure with a lion's head.",[1327],"Lion-man",{"id":1329,"data":1330,"type":24,"maxContentLevel":35,"version":25,"reviews":1334},"1cad3e1f-99b2-4c3c-ae14-288ad75b6604",{"type":24,"title":1331,"markdownContent":1332,"audioMediaId":1333},"What are impossible beings? page 2","When Tolkien wrote *The Lord of the Rings*, there was a sense that some races – especially orcs – were fundamentally evil. There is no occasion in Tolkien’s works when an orc shows signs of basic goodness, or renounces its allegiance to the darker forces in the world.\n\nFor a while, this was the standard approach in fantasy: some races are inherently bad. Other examples include trolls, giants, ogres, dark elves, and many more besides.\n\nBut in recent years, this approach has become unpopular. The idea that one group is inherently evil has racist undertones; morality is far more nuanced. In 2020, *Dungeons & Dragons* announced a change in their presentation of orcs. Moving forward, they said that orcs will be 'just as morally and culturally complex as other peoples.'","86b5da4c-c06e-499a-9883-397512d15e13",[1335,1344],{"id":1336,"data":1337,"type":69,"version":24,"maxContentLevel":35},"d3702a79-e943-4e17-af32-935d38f2deba",{"type":69,"reviewType":25,"spacingBehaviour":24,"binaryQuestion":1338,"binaryCorrect":1340,"binaryIncorrect":1342},[1339],"In Tolkien's works, which race is generally portrayed as evil?",[1341],"Orcs",[1343],"Elves",{"id":1345,"data":1346,"type":69,"version":24,"maxContentLevel":35},"8273a1a4-0b4c-44f0-8b96-631d961ad086",{"type":69,"reviewType":42,"spacingBehaviour":24,"clozeQuestion":1347,"clozeWords":1349},[1348],"In 2020, 'Dungeons & Dragons' announced that orcs would now be morally and culturally complex.",[1350],"morally",{"id":1352,"data":1353,"type":24,"maxContentLevel":35,"version":24,"reviews":1357},"d4b4814c-7a01-472f-a08b-5d33189c72b5",{"type":24,"title":1354,"markdownContent":1355,"audioMediaId":1356},"What are impossible beings? page 3","\nSome fantasy stories even explore romantic relationships between different races. A source of tension is often the length of each race’s lifespan. Can an elf have a fulfilling relationship with a human, when elves are immortal, and humans are not?\n\nThis idea has been around for centuries. Barbara Leavy, an academic of folklore, wrote extensively about romance between fantastical races in traditional myths and legends. Her thought-provoking book, *In Search of the Swan Maiden*, explores the gender dynamics in these fantastical relationships, which are usually stacked in favor of the men.\n\n![Graph](image://25f3e3e5-fd5c-443d-8679-dea3ba64664a ' ')\n\nIn more recent years, the idea of romance between fantastical races has developed into a popular subgenre: paranormal romance. The most famous example is probably *Twilight*, a story about a love triangle between a human, a vampire and a werewolf.\n","6769ee19-4b1e-4601-a7ab-ce03d1d15011",[1358,1366],{"id":1359,"data":1360,"type":69,"version":24,"maxContentLevel":35},"f84e1b1f-ffb9-453f-9b1c-bea501665aff",{"type":69,"reviewType":25,"spacingBehaviour":24,"binaryQuestion":1361,"binaryCorrect":1363,"binaryIncorrect":1365},[1362],"Who wrote 'In Search of the Swan Maiden', an exploration of gender dynamics in fantastical relationships?",[1364],"Barbara Leavy",[839],{"id":1367,"data":1368,"type":69,"version":24,"maxContentLevel":35},"2f6db3b0-0db7-4e56-be58-11b354756cef",{"type":69,"reviewType":24,"spacingBehaviour":24,"activeRecallQuestion":1369,"activeRecallAnswers":1371},[1370],"What is the name of the popular subgenre that features romance between fantastical races?",[1372],"Paranormal romance",{"id":1374,"data":1375,"type":25,"version":25,"maxContentLevel":35,"summaryPage":1377,"introPage":1386,"pages":1393},"35a78f85-433c-4ae0-9a39-70a63d6087f7",{"type":25,"title":1376},"Types of impossible being",{"id":1378,"data":1379,"type":35,"maxContentLevel":35,"version":25},"9bb20f95-3b36-42f3-a1aa-8c9e1afd5b65",{"type":35,"title":1380,"summary":1381},"Types of impossible being summary",[1382,1383,1384,1385],"In many fantasy stories, the fantastical races are inspired by the races in 'The Lord of the Rings'","The animals in fantasy stories are often inspired by real-world mythology, like dragons and wyverns","The plants in fantasy stories might have magical properties, or in some cases, they might be sentient","Traditionally, fantasy had a problem with diversity, but in recent years writers have been trying to fix this",{"id":1387,"data":1388,"type":53,"maxContentLevel":35,"version":24},"591c0cac-c3f2-4c60-a79f-46e8af3b0572",{"type":53,"title":1389,"intro":1390},"Types of impossible being intro",[1391,1392],"What are some examples of fantastical races?","What are some examples of fantastical animals and plants?",[1394,1421,1437,1455],{"id":1395,"data":1396,"type":24,"maxContentLevel":35,"version":25,"reviews":1400},"d873c5e8-1566-4ce3-b5ff-059477d53b5e",{"type":24,"title":1397,"markdownContent":1398,"audioMediaId":1399},"Types of impossible being page 1","Fantasy literature is often home to intelligent, magical races. In many cases, they were inspired by the races in *The Lord of the Rings*. For example, the *Dungeons & Dragons* role playing game features graceful elves with pointed ears, and stubborn dwarves with thick, shaggy beards.\n\nBut this is not the only approach a fantasy writer can take. In Yan Ge’s enthralling *Strange Beasts of China*, a cryptozoologist lives in a city full of strange, fantastical races. Some of them feed on human suffering; others grow in the soil like plants.\n\nWhatever they look like, these fantastical races often coexist with human beings. It adds to the sense of impossibility. In real life, we never encounter parallel, human-like beings, but in works of fantasy, these encounters happen all the time.\n\n![Graph](image://096ec0f2-b109-4f81-aed7-95d89eab7907 \" \")\n","33818e95-241d-4be2-ac11-8c93cf5ed68d",[1401,1412],{"id":1402,"data":1403,"type":69,"version":24,"maxContentLevel":35},"728ba400-451d-4159-80b9-c76dd954e7b4",{"type":69,"reviewType":35,"spacingBehaviour":24,"multiChoiceQuestion":1404,"multiChoiceCorrect":1406,"multiChoiceIncorrect":1408,"multiChoiceMultiSelect":6,"multiChoiceRevealAnswerOption":6},[1405],"What is a common characteristic of the elves in 'Dungeons & Dragons'?",[1407],"Pointed ears",[1409,1410,1411],"Thick beards","Long noses","Silver skin",{"id":1413,"data":1414,"type":69,"version":24,"maxContentLevel":35},"92cee70b-98cf-4239-b399-b6937d9d7646",{"type":69,"reviewType":25,"spacingBehaviour":24,"binaryQuestion":1415,"binaryCorrect":1417,"binaryIncorrect":1419},[1416],"In Yan Ge's 'Strange Beasts of China', what is the protagonist's profession?",[1418],"Cryptozoologist",[1420],"Cryptoveterinarian",{"id":1422,"data":1423,"type":24,"maxContentLevel":35,"version":25,"reviews":1427},"6e0541e5-d226-44c8-a3d2-88b16bb40a01",{"type":24,"title":1424,"markdownContent":1425,"audioMediaId":1426},"Types of impossible being page 2","\nAlong with intelligent, human-like races, fantasy fiction often includes magical beasts and animals. These creatures are sometimes dark and monstrous, bringing a sense of danger to a Secondary World, but they can also be benevolent, bringing wonder to the world instead.\n\n![Graph](image://8d87fc57-3d80-43a9-9af3-7a8462810a1f \" \")\n\nWhen coming up with these creatures, writers often draw on creatures in real-world mythology. Sarah J. Maas' *Throne of Glass* series is a good example. The story features wyverns – dragon-like beasts which appear in a number of European myths and legends.\n\nOther stories feature mythological creatures from other parts of the world. Rebecca Roanhorse's *Black Sun* draws on Mesoamerican civilizations like the Maya and the Aztecs. Instead of dragons or wyverns, this story features winged serpents inspired by Quetzalcoatl.\n","4b700e55-3a90-4149-8d65-ca22cb81ff05",[1428],{"id":1429,"data":1430,"type":69,"version":24,"maxContentLevel":35},"539e27f4-db23-48f8-b940-e7f8376ae28e",{"type":69,"reviewType":25,"spacingBehaviour":24,"binaryQuestion":1431,"binaryCorrect":1433,"binaryIncorrect":1435},[1432],"What type of mythical creature appears in Sarah J. Maas' 'Throne of Glass' series?",[1434],"Wyvern",[1436],"Quetzalcoatl",{"id":1438,"data":1439,"type":24,"maxContentLevel":35,"version":24,"reviews":1443},"b02f9a6a-5f78-41a2-8cc9-1a1f6aecb81d",{"type":24,"title":1440,"markdownContent":1441,"audioMediaId":1442},"Types of impossible being page 3","\nIn fantasy fiction, the plants are often as strange and magical as the animals. Potion-making is a common element in these stories, with witches and wizards collecting magical herbs to brew into useful elixirs.\n\nSometimes, writers go further than this, inventing plants so magical that they have the power to move and speak. In *The Lord of the Rings*, the ents are a species of ancient, walking tree. In *Perdido Street Station*, the cactacae are clumsy, talking cactuses.\n\nIn some fantasy stories, the idea of talking plants, and potion making, intersect with one another. In the *Harry Potter* series, people make a restorative potion by boiling the roots of mandrake plants, even though those roots have the appearance of wailing humanoid babies.\n","1e1c09b4-dc08-4087-a6dd-b9940a144a80",[1444],{"id":1445,"data":1446,"type":69,"version":24,"maxContentLevel":35},"b1afcefe-d6ef-42d4-8b1a-4dfc1e40d4f3",{"type":69,"reviewType":35,"spacingBehaviour":24,"multiChoiceQuestion":1447,"multiChoiceCorrect":1449,"multiChoiceIncorrect":1451,"multiChoiceMultiSelect":6,"multiChoiceRevealAnswerOption":6},[1448],"In the 'Harry Potter' series, which magical plant has the appearance of a wailing baby?",[1450],"Mandrake",[1452,1453,1454],"Monkshood","Wolfsbane","Gillyweed",{"id":1456,"data":1457,"type":24,"maxContentLevel":35,"version":25,"reviews":1461},"b3f39e40-db27-40c5-8c70-c2679bdc7ca3",{"type":24,"title":1458,"markdownContent":1459,"audioMediaId":1460},"Types of impossible being page 4","\nThe fantasy genre has featured an incredible array of magical races, plants and animals. But at the same time – and somewhat counter-intuitively – stories in this genre have often struggled with diversity.\n\nIn *The Lord the Rings*, a fellowship goes on a quest: four hobbits, two humans, an elf, a dwarf and a wizard. On the surface, this group sounds extremely diverse – apart from the fact that every single one is more or less still a white, European-looking male.\n\nIn recent years, authors have worked hard to bring more diversity to the genre. N.K. Jemisin's *Broken Earth* trilogy is a striking, award-winning example. The protagonist, Essun, is a middle-aged black woman who defies traditional fantasy tropes, and breathes new life into this traditionally male-driven genre.\n","a7160acd-1aa5-4717-bc30-5653adc3dd6c",[1462],{"id":1463,"data":1464,"type":69,"version":25,"maxContentLevel":35},"9395f12b-92e9-4dfc-b605-b02817cf79c0",{"type":69,"reviewType":35,"spacingBehaviour":24,"multiChoiceQuestion":1465,"multiChoiceCorrect":1467,"multiChoiceIncorrect":1469,"multiChoiceMultiSelect":6,"multiChoiceRevealAnswerOption":6},[1466],"Which award-winning trilogy brought increased diversity to the fantasy genre?",[1468],"'The Broken Earth'",[1470,1471,1472],"'The Lord of the Rings'","'The Chronicles of Narnia'","'The Inheritance Cycle'",{"id":1474,"data":1475,"type":27,"maxContentLevel":35,"version":35,"orbs":1478},"6b25768d-686b-4ab7-a97b-c9bba7371447",{"type":27,"title":1476,"tagline":1477},"Reading List","Important fantasy books",[1479,1562],{"id":1480,"data":1481,"type":25,"version":25,"maxContentLevel":35,"summaryPage":1483,"introPage":1492,"pages":1498},"6c10e862-c1bf-4868-a1f5-dde6ecd4e88e",{"type":25,"title":1482},"20th century fantasy",{"id":1484,"data":1485,"type":35,"maxContentLevel":35,"version":25},"0bbf06c2-364f-4a20-a168-c308810ecc81",{"type":35,"title":1486,"summary":1487},"20th century fantasy summary",[1488,1489,1490,1491],"Ursula Le Guin wrote 'A Wizard of Earthsea' in 1968","Terry Pratchett wrote 'The Colour of Magic' in 1983","Philip Pullman wrote 'Northern Lights' in 1995","Robin Hobb wrote 'Assassin's Apprentice' in 1995",{"id":1493,"data":1494,"type":53,"maxContentLevel":35,"version":24},"3acbe32f-4a6e-473a-904b-b689ac3932e3",{"type":53,"title":1495,"intro":1496},"20th century fantasy intro",[1497],"What are some of the most important works of 20th century fantasy?",[1499,1517,1532,1546],{"id":1500,"data":1501,"type":24,"maxContentLevel":35,"version":24,"reviews":1505},"18a49baa-3de5-41ce-b28a-773fbd2600be",{"type":24,"title":1502,"markdownContent":1503,"audioMediaId":1504},"20th century fantasy page 1","**A Wizard of Earthsea (1968)**\n\nBefore the 1960s, the fantasy genre was dominated by male authors. Then Ursula Le Guin arrived on the scene with her iconic *A Wizard of Earthsea*. This book is officially for children, but with its rich style and enchanting world, adults can enjoy it too.\n\nThe story is set on the island of Gont, a place known for its powerful wizards. The most powerful of all is Ged – but at the start of his life, he was nothing more than a reckless, awkward boy.\n\nWhen Ged discovered he had a gift for magic, he was sent to attend a magical school. But he pushed too hard, and secretly attempted a spell beyond his means. Inadvertently, he unleashed a terrible shadow-beast on the rest of the world. As he comes of age, can he find a way to stop it?\n","b062a76f-10e1-49f5-952b-7fbaf04341d9",[1506],{"id":1507,"data":1508,"type":69,"version":24,"maxContentLevel":35},"dfe10daf-c3b2-4965-9fcf-a22cda1d7bd6",{"type":69,"reviewType":35,"spacingBehaviour":24,"multiChoiceQuestion":1509,"multiChoiceCorrect":1511,"multiChoiceIncorrect":1513,"multiChoiceMultiSelect":6,"multiChoiceRevealAnswerOption":6},[1510],"In 'A Wizard of Earthsea', what did the main character inadvertently unleash on the world?",[1512],"A shadow-beast",[1514,1515,1516],"A dragon","An army","A curse",{"id":1518,"data":1519,"type":24,"maxContentLevel":35,"version":24,"reviews":1523},"a29be733-c36d-43a7-ac67-0b46b2af17d0",{"type":24,"title":1520,"markdownContent":1521,"audioMediaId":1522},"20th century fantasy page 2","\n**The Colour of Magic (1983)**\n\nTerry Pratchett is renowned for his satirical and humorous approach to fantasy. *The Colour of Magic*, the first novel in his extensive *Discworld* series, introduces readers to a flat world supported by four elephants standing on top of a giant turtle.\n\nThe story follows Rincewind, the world’s worst wizard, who has an important job: look after Twoflower, an insurance clerk who also happens to be Discworld’s first ever tourist. Twoflower is accompanied by the Luggage, a vicious suitcase on legs.\n\nThe peace and prosperity of the entire world depends on Twoflower’s safety. But looking after him will not be easy. Not with all the monsters, thieves and mercenaries who would like to see him dead.\n","a7eddf76-2235-4c0c-85cd-a1b4347ad645",[1524],{"id":1525,"data":1526,"type":69,"version":24,"maxContentLevel":35},"a711ab0c-a9af-4254-bad8-b29e3c822af7",{"type":69,"reviewType":42,"spacingBehaviour":24,"clozeQuestion":1527,"clozeWords":1529},[1528],"In Terry Pratchett's 'Discworld', the world is supported by four elephants on the back of a giant turtle.",[1530,1531],"elephants","turtle",{"id":1533,"data":1534,"type":24,"maxContentLevel":35,"version":24,"reviews":1538},"6eb4b543-ddbf-4d82-82d5-7e997785b988",{"type":24,"title":1535,"markdownContent":1536,"audioMediaId":1537},"20th century fantasy page 3","\n**Northern Lights (1995)**\n\nIn 1995, Philip Pullman published *Northern Lights*. He wanted this book to bring a greater degree of thematic depth to the fantasy genre – his Secondary World was meticulously designed to tackle questions about religion, innocence and sin.\n\nThe story follows Lyra Belacqua, an eleven-year-old girl who lives in a magical version of Oxford University. In Lyra’s world, human souls manifest as animal companions called daemons, which follow you everywhere, and know how to talk.\n\nLyra finds herself caught up in an adventure which takes her north to the frozen Arctic, a land of witches and ferocious, armored polar bears. This journey will have enormous consequences, not just for the world of Lyra, but for hundreds of other worlds too.\n","e233aef8-7cf6-4d41-a173-0e4c3ec1d84c",[1539],{"id":1540,"data":1541,"type":69,"version":24,"maxContentLevel":35},"f6935d64-a981-42b3-a883-81c95079a43d",{"type":69,"reviewType":24,"spacingBehaviour":24,"activeRecallQuestion":1542,"activeRecallAnswers":1544},[1543],"In 'Northern Lights', human souls manifest as animal companions, which are commonly known by what name?",[1545],"Daemons",{"id":1547,"data":1548,"type":24,"maxContentLevel":35,"version":24,"reviews":1552},"c89ee5c2-e0dc-471e-aa5b-fc0895e98e8c",{"type":24,"title":1549,"markdownContent":1550,"audioMediaId":1551},"20th century fantasy page 4","\n**Assassin's Apprentice (1995)**\n\nBefore the 1990s, Margaret Astrid Lindholm Ogden wrote under the pen name Megan Lindholm. Her works were well received by critics, but did not sell particularly well. She decided to try again under a new pen name – Robin Hobb – and her career finally took off.\n\nRobin Hobb’s first book was *Assassin’s Apprentice*. It tells the story of Fitz, the bastard son of a crown prince, who is shunned and despised by the rest of the royal family. He is raised in the stables, where he must rely on his unusual gift with animals if he wants any kind of company.\n\nThen Fitz is whisked away from that life, and given a new opportunity: to train as a royal assassin. He instantly finds himself caught up in a world of violence, intrigue, and magic.\n","49143897-8a38-4ea1-a5e8-b89b3a8312c2",[1553],{"id":1554,"data":1555,"type":69,"version":24,"maxContentLevel":35},"37eedad9-cd64-4779-8fd0-2815e958b48d",{"type":69,"reviewType":25,"spacingBehaviour":24,"binaryQuestion":1556,"binaryCorrect":1558,"binaryIncorrect":1560},[1557],"In Robin Hobb's 'Assassin's Apprentice', who is the main character's father?",[1559],"A crown prince",[1561],"A magic assassin",{"id":1563,"data":1564,"type":25,"version":25,"maxContentLevel":35,"summaryPage":1566,"introPage":1577,"pages":1583},"2c98baec-8fed-44e7-9895-b1203a8ff171",{"type":25,"title":1565},"21st century fantasy",{"id":1567,"data":1568,"type":35,"maxContentLevel":35,"version":25},"cc4b5f44-5585-4f75-ae70-9280df2ff46f",{"type":35,"title":1569,"summary":1570},"21st century fantasy summary",[1571,1572,1573,1574,1575,1576],"Neil Gaiman wrote 'American Gods' in 2001","Susanna Clarke wrote 'Jonathan Strange & Mr Norrell' in 2004","Ngũgĩ wa Thiong'o wrote 'Wizard of the Crow' in 2006","Brandon Sanderson wrote 'The Way of Kings' in 2010","Naomi Novik wrote 'Uprooted' in 2015","NK Jemisin wrote 'The Fifth Season' in 2015",{"id":1578,"data":1579,"type":53,"maxContentLevel":35,"version":24},"717777b7-985a-4956-8bda-20ecb68bcd1f",{"type":53,"title":1580,"intro":1581},"21st century fantasy intro",[1582],"What are some of the most important works of 21st century fantasy?",[1584,1598,1613,1631,1645,1663],{"id":1585,"data":1586,"type":24,"maxContentLevel":35,"version":24,"reviews":1590},"1746b7ee-b640-499d-8c93-951de5004321",{"type":24,"title":1587,"markdownContent":1588,"audioMediaId":1589},"21st century fantasy page 1","**American Gods (2001)**\n\nNeil Gaiman is an English author whose first ever fantasy novel was a collaboration with Terry Pratchett. After that, he turned his hand to solo writing, and became a fantasy icon, with a number of powerful books.\n\nOne of Neil Gaiman’s most famous works is *American Gods*. The story follows Shadow Moon, an American convict who is released from prison three days early after his wife is killed in a mysterious car crash.\n\nOn the plane home, he meets an enigmatic stranger called Mr. Wednesday, who claims to be an ancient god, and the true king of America. Together, they embark on a road trip, exploring the shadowy corners of America, and meeting other ancient gods along the way.\n","3dc9509c-b70a-400f-9e41-58a1041252fb",[1591],{"id":1592,"data":1593,"type":69,"version":24,"maxContentLevel":35},"328453d0-7104-4817-b30f-3255318559a6",{"type":69,"reviewType":24,"spacingBehaviour":24,"activeRecallQuestion":1594,"activeRecallAnswers":1596},[1595],"In Neil Gaiman's 'American Gods', which enigmatic stranger claims to be an ancient god?",[1597],"Mr. Wednesday",{"id":1599,"data":1600,"type":24,"maxContentLevel":35,"version":24,"reviews":1604},"4ef54965-eb70-4d76-80bd-4e65fe824fce",{"type":24,"title":1601,"markdownContent":1602,"audioMediaId":1603},"21st century fantasy page 2","\n**Jonathan Strange & Mr Norrell (2004)**\n\nSusanna Clarke was working as a full-time cookbook editor when she started writing *Jonathan Strange & Mr Norrell*. The book took her ten whole years to finish, but it was worth the wait. It won six major awards, and became an instant fantasy classic.\n\nThe story is set in a version of 19th century England. The entire story is written in a style which echoes the works of Jane Austen and Charles Dickens. But this is a 19th century England with a difference: magic is part of the world.\n\nOnly two men know how to use it. One is Gilbert Norrell, a fussy introvert who learns magic from books. The other is Jonathan Strange, a handsome extrovert who learns magic by instinct. When the two magicians clash with each other, it sends ripples through the rest of England.\n","ae551c9f-15f7-41e5-9f83-d843b2bf26fe",[1605],{"id":1606,"data":1607,"type":69,"version":24,"maxContentLevel":35},"00169876-97a4-4660-9387-a12b58bcf556",{"type":69,"reviewType":42,"spacingBehaviour":24,"clozeQuestion":1608,"clozeWords":1610},[1609],"Jonathan Strange & Mr Norrell' is about a pair of magicians in 19th century England.",[1611,1612],"Strange","Norrell",{"id":1614,"data":1615,"type":24,"maxContentLevel":35,"version":24,"reviews":1619},"eab50bc7-b05f-4c4d-8305-bc8320c1675d",{"type":24,"title":1616,"markdownContent":1617,"audioMediaId":1618},"21st century fantasy page 3","\n**Wizard of the Crow (2006)**\n\nA lot of fantasy works were originally written in English, but not all of them. In 2006, Ngũgĩ wa Thiong'o, a Kenyan author and scholar, published *Wizard of the Crow*. The entire book was written in Kikuyu first, then translated into English later.\n\nThe story unfolds in an imaginary country: the Free Republic of Aburĩria. This place is controlled by an autocratic leader, who calls himself the Ruler. To honor his birthday, he demands that the country builds a tower reaching up to the gates of Heaven.\n\nWhile the tower goes up, other factions vie for power. One is the Wizard, who symbolizes local folklore. Another is the Missionary, who symbolizes Christianity. A third is the Global Bank, which symbolizes greed. This story represents a poignant exploration of Africa’s recent past.\n","a0de3a0c-2cb6-40d9-a2df-9ffadec26380",[1620],{"id":1621,"data":1622,"type":69,"version":24,"maxContentLevel":35},"b57a8353-6ce8-4281-84cb-c8e7227a5a94",{"type":69,"reviewType":35,"spacingBehaviour":24,"multiChoiceQuestion":1623,"multiChoiceCorrect":1625,"multiChoiceIncorrect":1627,"multiChoiceMultiSelect":6,"multiChoiceRevealAnswerOption":6},[1624],"What language was 'Wizard of the Crow' originally written in?",[1626],"Kikuyu",[1628,1629,1630],"English","French","Kamba",{"id":1632,"data":1633,"type":24,"maxContentLevel":35,"version":24,"reviews":1637},"2a8e6f59-8702-484d-89cb-0f48d3b596a4",{"type":24,"title":1634,"markdownContent":1635,"audioMediaId":1636},"21st century fantasy page 4","\n**The Way of Kings (2010)**\n\nBrandon Sanderson is probably the most successful author currently writing in the fantasy genre. He made major headlines in 2022, when he announced four new novels on Kickstarter, and quickly received more than $40 million of backing from his fans.\n\nHis most popular series is *The Stormlight Archive*, starting with *The Way of Kings*. This epic story takes place on Roshar, a world ravaged by devastating, supernatural storms. This world was once protected by mystical knights, but now, inexplicably, they are gone.\n\nThree protagonists struggle to navigate this storm-torn world. The first is Kaladin, a soldier-turned-slave. The second is Shallan, an aspiring scholar. The third is Dalinar, a nobleman haunted by visions of those knights who vanished in the distant past.\n","bd8d56d4-cbdc-48a1-a4c8-0bbf734322d7",[1638],{"id":1639,"data":1640,"type":69,"version":24,"maxContentLevel":35},"fd4e5fa9-9c2a-4bc8-b1fd-b6578f8cafdf",{"type":69,"reviewType":24,"spacingBehaviour":24,"activeRecallQuestion":1641,"activeRecallAnswers":1643},[1642],"What is the name of the storm-torn world where 'The Way of Kings' takes place?",[1644],"Roshar",{"id":1646,"data":1647,"type":24,"maxContentLevel":35,"version":24,"reviews":1651},"3ca0a29e-2f85-4e1c-8aa0-59028f6fd1a9",{"type":24,"title":1648,"markdownContent":1649,"audioMediaId":1650},"21st century fantasy page 5","\n**Uprooted (2015)**\n\nNaomi Novik grew up in America, but her parents were Eastern European. She grew up on fairy tales from that part of the world, and in 2015, she decided to write a fantasy novel inspired by all those stories.\n\n*Uprooted* follows Agnieszka, a young woman who lives in a village at the edge of an evil, magical forest. Her village is kept safe by an enigmatic wizard known only as the Dragon – but his protection comes at a price.\n\nEvery ten years, he demands a tribute: a young woman to come and live in his tower, and serve him whenever he needs her. Agnieszka is convinced that her friend will be chosen; he usually takes the prettiest girl in the village. But when the Dragon comes, he chooses Agnieszka, and her world is torn apart.\n","3232edd5-5e97-407f-b633-8916c6c15ac3",[1652],{"id":1653,"data":1654,"type":69,"version":24,"maxContentLevel":35},"f6b1a841-07a1-477e-819b-a3b2e28201b3",{"type":69,"reviewType":35,"spacingBehaviour":24,"multiChoiceQuestion":1655,"multiChoiceCorrect":1657,"multiChoiceIncorrect":1659,"multiChoiceMultiSelect":6,"multiChoiceRevealAnswerOption":6},[1656],"In Naomi Novik's 'Uprooted', what does the Dragon demand as tribute every ten years?",[1658],"A young woman",[1660,1661,1662],"A young man","A magical artifact","A pile of gold",{"id":1664,"data":1665,"type":24,"maxContentLevel":35,"version":24,"reviews":1669},"b76d88b9-526b-4337-80ae-356ada925896",{"type":24,"title":1666,"markdownContent":1667,"audioMediaId":1668},"21st century fantasy page 6","\n**The Fifth Season (2015)**\n\nThe Hugo Award is the most prestigious prize for science fiction and fantasy, and N.K. Jemisin is the only author to have won it three years in a row. She published *The Fifth Season* in 2015, and blew readers away with her gritty, groundbreaking approach.\n\nThe story is set in a world plagued by seismic events called Seasons. The earth shatters and shakes, volcanoes blow open, and ash clouds darken the sky. Some people are born with a gift to control this seismic activity – but they are shunned and despised for their strange, unnatural powers.\n\nEssun is a woman with this seismic gift, but she hides it from everyone she knows. Not even her husband knows the truth. Then one day she comes home, and finds her son murdered. Somebody else must have realized that this little boy had the seismic gift as well.\n","d7a50f2a-7804-4778-a205-5a6aa57d34e2",[1670],{"id":1671,"data":1672,"type":69,"version":24,"maxContentLevel":35},"1db045b4-f12e-4f4c-8631-9400046fcd68",{"type":69,"reviewType":35,"spacingBehaviour":24,"multiChoiceQuestion":1673,"multiChoiceCorrect":1675,"multiChoiceIncorrect":1677,"multiChoiceMultiSelect":6,"multiChoiceRevealAnswerOption":6},[1674],"In N.K. Jemisin's 'The Fifth Season', what do some people have the power to control?",[1676],"Seismic activity",[1678,1679,1680],"Storms","The ocean","Time",{"left":4,"top":4,"width":1682,"height":1682,"rotate":4,"vFlip":6,"hFlip":6,"body":1683},24,"\u003Cpath fill=\"none\" stroke=\"currentColor\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-width=\"2\" d=\"m9 18l6-6l-6-6\"/>",{"left":4,"top":4,"width":1682,"height":1682,"rotate":4,"vFlip":6,"hFlip":6,"body":1685},"\u003Cg fill=\"none\" stroke=\"currentColor\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-width=\"2\">\u003Cpath d=\"M12.586 2.586A2 2 0 0 0 11.172 2H4a2 2 0 0 0-2 2v7.172a2 2 0 0 0 .586 1.414l8.704 8.704a2.426 2.426 0 0 0 3.42 0l6.58-6.58a2.426 2.426 0 0 0 0-3.42z\"/>\u003Ccircle cx=\"7.5\" cy=\"7.5\" r=\".5\" fill=\"currentColor\"/>\u003C/g>",1778228382870]