Tag Archives: Eragon

Book Musing – Eragon

I mentioned recently that I had finished reading the Inheritance Cycle by Christopher Paolini, and that I was trying to think of how to review them. For one thing, the books have been out for years – and it’s even a re-reading for me. For another thing, it’s a four-book series, and I’m done with all of them. So while it’s tempting to do one gigantic review, I don’t think that’s a good idea…

I think that conceptually this series has a lot going for it. It is very much so an author trying to bring a lot of modern understanding into the fantasy genre, trying to bring complex modern thoughts and knowledge both into that realm. Much of fantasy tries to recreate that medieval mindset, but Paolini eschews that.

There’s also the structural conventions of the genre – and of the hero’s journey – that Paolini both incorporates and actively works against. The most obvious is that, while the trilogy is the most common series length, Paolini takes what feels like it is starting out as a trilogy and turns it into a very compelling 4-book series.

So instead of book reviews, I think I’ll write up some musings on each of the books. I’ll think of them a bit in relation to each other, and in these larger terms. But also of course some consideration for the details of the book itself. So first up: Eragon!

The Hero’s Journey

So first up, yep, this book starts us on a hero’s journey, a chosen one who was before totally unconnected to the world he is about to find himself in. Living in a small, out-of-the-way rural village. Actually, scratch that – on a farm, outside the village. Way out of the way. Despite being located near “nowhere” on the map, Eragon the farm boy finds himself soon to be Eragon the dragonrider.

In many ways, it’s hard not to fall back on conventions like this. By having a character this ignorant of the world, the political struggles in it, the magic and races dangers, you have a whole lot of room for storytelling, world-building, and exposition.

There’s a bit of exposition one-upmanship, however, because dragons and their riders can speak telepathically with no one else hearing – thus allowing the main character and his bonded companion, the dragon Saphira, to talk through whatever is going on in the scene. It was a new way of approaching a normal sort of storytelling.

Eragon learns quite a bit throughout the book, but really just enough to be thrust into situations where he is in well over his head. He is saved on numerous occasions by the people around him, which matches with the general reality that heroes need friends, allies, and quite a bit of luck to survive and to be heroes.

There are quite a few normal sorts of elements, as well, especially a set of prophecies that Eragon receives. I do love a good prophecy, and there is a great deal of import given to these prophecies throughout all four books, which just makes them better as far as I’m concerned.

How Much of This Did He Plan?

Alright, I may have been spoiler (or at least detail) light so far, but that may change a bit here. That’s because, there are several items which you learn in later books which drastically change a re-reading of Eragon! That was my number one takeaway from this book, that it had a whole lot more meaning and significance a second time through.

To be that important, it could really only be one thing, and that’s identities. To be fair, there’s a lot of people met in Eragon, and we learn more about most of them throughout the series, all of which improves our perspective on them. But there are a couple of characters that take the book from interesting to heartbreaking. The amount of innocence contained in Eragon – that is progressively lost as the books drag deeper down until you’re in full-on war at the end – is astounding. I also didn’t remember how late it is that you actually get the most important spoiler!

I’ll avoid actually saying what it is here, although now even just saying something I’ll have new readers trying to guess things they might not have otherwise, and returning readers perhaps trying to remember (like I was) what details they were needing to piece things together at the start. Feel free to message me (@compgeeksdavid) if you’d like the full spoilers!

Much Room for Growth

Kind of like in my discussion about The Gunslinger recentlyEragon is a first book that clearly left the author feeling the need to infuse more into his story, and into his storytelling. It hits on a lot of the traditional elements. I imagine it felt safe for, say, the folks who decided to make a movie of it (I haven’t seen the movie, only a few brief moments on TV before turning away). It seems kind of ordinary.

I think the later books are where things definitely get interesting, in a lot of respects! Throughout the series, Eragon kind of remains a chosen one savior of the world character, on an over-arching quest, but he’s not the only person in the world. He may not even be the best hero they have, as that distinction might need to go to Arya. But he’s the Chosen One, which carries on additional weight in terms of politics, motivation, and war. You can’t afford to lose him. His freedom of choice is limited.

The larger political landscape that Paolini builds does a lot to frame the hero in a larger context. You really only just start to get a taste of this in this book, in its final region, the final climactic battle and fairly abrupt ending – but really, things fall apart from there!

But that’s to be continued when I muse about Eldest!

 

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The Inheritance Cycle is informed by Science Fiction

I finally finished listening to the audio books for the Inheritance Cycle, the 4 books starting with Eragon by Christopher Paolini. You can watch his skill as a writer and his world grow and develop through the books, as well as getting deeper as you see more of the cultures and locations in the world as it goes along.

I’ve been trying to think how to write about these books, and a review of each one is probably in order. However, there’s also talking about them as a whole, and for Science Fiction Saturday, it seemed right to talk about just how much science fiction informs these books.


It’s definitely fiction with an understanding of science, that’s for sure. It has all the trappings of fantasy, yes – elves, dwarves, magic, a medieval setting, and a hero’s journey. However, it’s this fantasy world that has a clear underpinning in the laws of our world, and where the magic is different, it’s a highly defined and explained magic system.

Really, the magic system and the way it works and is used in the story is one of the main reasons to read these books, one of the main unique features. Also probably some of the harder parts to adapt into film! (I never saw the movie adaptation, short of a few painful moments caught on TV). And it’s the magic system that both allows for that view into the world of science, and which takes this world and matches it to the definition of science fiction that I’ve worked with here on the site.

Well, matches somewhat. When magic itself is called out as a difference, it’s hard to get past. However, the magic system in Inheritance is all about ingenuity, cleverness, and out-thinking your opponent. It’s a magical language with the names of things, and where the mages have to commit to the spell they have spoken. So what happens with magic is based mainly on the knowledge and imagination of the magician.

Mainly on knowledge… and the rest is about energy. It takes as much energy with magic to do something as to do it in the mundane way, it just happens faster and perhaps differently. But that means the magician expends all of that energy at once – to, say, dig a ditch or descend a mountain. It’s dangerous.

So a lot of the science in this series is about energy – how much it takes to do a task, how much the magician has available. And the distance from a target (it’s harder to do something far away), or the weight of things, or these other physical aspects of the material world.


However, there’s also a mental aspect to the magic system – magicians are telepathic, they can read minds and speak through minds. And through this open mind experiencing the world around him, Eragon discovers a great deal about the natural world – following the lives of ants, for instance, like in The Once and Future King.

There’s all kinds of great scientific discoveries peppered throughout the series, for instance when Eragon discovers the fact that the world is round, or when he hears theories that we are not solid, but mostly empty with small particles holding us together. Lots of information about animals (as well as the invented biology of dragons, of course). About human anatomy as well, ways to kill them for sure, as well as some of the concerns Eragon starts to have about protecting himself or others. His magically calloused knuckles for punching, for instance.


Paolini also worked in plenty of war, and politics, and other problems that are common in science fiction. And the modern world. And fantasy too, I suppose. It mostly just ends up genre-bending, with so many aspects of the world thought out and explored and explained. It’s modern, I suppose, with so many things we know today being an exciting discovery in the medieval world of Inheritance. It has a science fiction feel, with so much focus on science. It’s fantasy in its outer shell, with the races and places and magic. It has elements of horror, of war.

It’s good stuff. I had remembered liking it, but was not disappointed in the re-read (listen). It was quite good.

The Definition of Fantasy – Throwback Thursday

Last week, I shared the first in a series about defining Science Fiction, and next up in that series I tackled the definition of Fantasy, for a bit of compare and contrast. There’s more explicit comparing and contrasting to come later, so first, let’s explore Fantasy. What do you think of the definition given?


If I really want to talk about differences between Science Fiction and Fantasy, then I really need to have solid definitions of the two. I recently gave my working definition of Science Fiction, from one of Science Fiction’s greatest practitioners – Frank Herbert. So now, we need a definition for Fantasy.

So why not get that definition from J.R.R. Tolkien?

I don’t know the source, except that I found it circulating on Facebook. There is a signature in the lower left, so I will let that speak for the creator of this image. I found this on Doctor Who and the T.A.R.D.I.S. on Facebook, but this is mostly just a Facebook page that shares images from the fandoms, mostly Doctor Who. Actually, one I recommend, just know that there’s a lot of images that they share. Be ready.

Anyway, after the jump, check out the definition of Fantasy!
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Science Fiction and Religion – Prophecy, Part 1 (Fantasy)

One of my favorite literary devices is prophecy. A good prophecy, sufficiently vague and mysterious, riddle-like and maybe rhyming, to keep you thinking back, keep you wondering. It can easily drive a plot. It usually points to a chosen one. Indeed, a recent favorite of mine hits all the important aspects:

“One day, a talented lass or fellow, a special one with face of yellow, will make the Piece of Resistance found from it’s hiding refuge underground, and with a noble army at the helm, this Master Builder will thwart the Kragle and save the realm, and be the greatest, most interesting, most important person of all times. All this is true because it rhymes.”

-Vitruvius, The Lego Movie

See? It rhymes. Must be true.

Prophecy, and indeed prophecy pointing towards a chosen one, is grounded in religion. Okay, so for our science fiction and religion series, this post is halfway there. But what about science fiction? One of the fundamental aspects of science fiction I have seen since the series started is that science fiction tends to stay away from religion. Meaning similarly, it stays away from prophecy in large part.

So I’m calling this post part one because I want to talk about prophecy, and the better way to do that is to talk about Fantasy. Then in part two, I’ll go into a couple of good science fiction examples and see how they differ. So onward for Fantasy prophecies, and an open thread!

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Failure to Launch (A Franchise)

I read a great article over on We Minored in Film recently about last weekend’s boxoffice, with three bigger name sorts of releases coming out. One was The Lego Movie – our Valentine’s Day plan – and another was The Monuments Men, delayed and kind of out of Oscars contention because of it. But the third we saw last weekend, as you may know from Holly’s LitFlix on the subject. We saw Vampire Academy.

I don’t see much reason to mess with Kelly Konda’s review and analysis, but instead want to say that it got me thinking. He lists a number of other genre young adult adaptations that have come out lately, and which have not done that well. Last year, and into this year now, has seen these attempts at starting up a franchise and trying to make the sort of money that the Twilight or Harry Potter series made. Yet the movies that did well last year weren’t the first in their franchise: they were the second, with Catching Fire and Percy Jackson.

And it’s too soon to know what will happen with some of these franchises: will they continue on with Ender’s GameVampire Academy ended with a lead-in to the later books. Beautiful Creatures? City of Bones? But while it’s too soon to know about these movies, there are some more recently – but far enough back – that we can be pretty sure they completely failed to spin off the rest of their series, failed to launch a franchise. So here’s five stories that failed to keep going!

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