fantasy

The Fantasy of Beringia, except it’s true

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Woolly Rhinoceros
Woolly Rhinoceros

I work at the Beringia Centre, where we preserve Yukon history from 14,000-10,000 years ago. The great land mass of Beringia, situated in what is now the Bering Strait, connecting Siberia and Alaska, was our Atlantis–land that flourished for awhile and then sunk beneath the sea.

While it was here, it was a huge grassland bordered by glaciers and mountains, a refuge untouched by the Ice Age going on in northern North America, a place where plants and animals evolved and lived. And the animals, like the Woolly Rhino to the left, looked like something out of an ancient bestiary.

I think Beringia is a fantasy setting untapped. I would love to get a group of science fiction and fantasy writers to choose Beringia as a setting—scimitar cats, woolly mammoths, hunters crossing the land bridge, giant sloths and beavers, and the magic of the Gwich’in and T’lingit storytelling to go with it. It’s our living fantasy setting, or was.

Everything there is true, and the facts and science could aid a group of writers in developing storylines based on the science and setting of Beringia.

Perhaps one of our assignments in my after school sci-fi/fantasy writing program will be to go to the Beringia Centre and imagine it as a fantasy/sci-fi setting—research the science–develop a story. True, fantasy writers like to come up with settings that utilize wizards, dwarves, dragons, but these are northern European settings, northern European mythology, and Canadian writers have a treasure sitting beneath them.

We don’t have to live by Elves Alone.

Perhaps Beringia will inspire new writers to come up with their own mythology and characters based on this place–and break the European mold. Eh, it’s just an idea. Come visit and see the Fantasy that was really true. I dare Europe to find the bones of a dragon!

Rocket Fuel is Relaunching

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The City of Whitehorse is launching a new time and space for Rocket Fuel, the science fiction and fantasy writing group for teens, this year. Watch for times and place here, and in the leisure guide. We’re hoping to have it after school at a Whitehorse school, once a week. We’ll be exploring more ways to write science fiction and fantasy and doing exercises that build writing skills. I think there’s gonna be food too! So, food, science fiction, and other people who like science fiction–all right after school. How can this be a bad thing? No more will you have to give up Saturdays or evenings! I’ll add the blurb from the Leisure Guide when we have all the places and times set!

Tell your friends–we’d love to have 10-16 people, or more. So, if you know anyone who wants to write their own science fiction and fantasy stories and read and comment on other people’s work— invite them. We’d love to have enthusiastic learners and writers!

How not to write Fantasy: The Forbidden Kingdom

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The movie is based on one of the oldest known novels, Journey to the West, a Chinese Epic. Written down finally in the 1590s from oral stories dating much farther back, it’s 100 chapters long and is one of the four classic novels of Chinese literature, so any screenwriter would have challenges in writing up even a portion of it for screen. Whether The Forbidden Kingdom works on a literature-to-movie basis or not is not my point below. It doesn’t matter to me if the movie represents any part of the classic novel itself, or whether the Monkey King is true to character as depictd by Wu Cheng’en, the purported author of the novel.

To me the problem is always how the film stands up as a story. And here for me the movie serves as a good example on how not to write a Fantasy.

1. There is very little character set-up for the main character and the character that does develop is unlikeable. His name is so forgettable that I have forgotten it. Josh or Seth watches a LOT of kung-fu movies–we know this because of his room decor, posters and posters of old films. He rents movies. He has a thin relationship to the old shopkeeper–who seems to run a kung-fu Movie Warehouse and Knick Knack store. The movie seems in a hurry to get us to the “object”–the staff–and so makes Josh/Seth see it through a door that’s been left open, pick it up off the floor, and we get to feel the “weird” importance of the object. In the next scene, unknown girl gets Josh/Seth to tell us what he does and why he lives there–she’s so much a schill that she doesn’t even scream when Josh is then beat up by a gang of thugs. He doesn’t react much either. When they discover he has rented movies from Shopkeeper’s Kung-fu Emporium, they assume he can get them in to see the old guy and rob him. He walks them straight to the shop, tricks the shopkeeper, and watches as they beat him up.

Okay, I don’t like this character already. He’s shuffled through his plot points like an understudy during a rehearsal (and then you’ll stumble here and then you’ll look pathetic here and then ….) and allowed to have no reaction to what the director wants us to think as weakness. But this isn’t just weakness of strength and skill–as the movie makes it out to be–but HUGE weakness of character. He doesn’t have to lead Thugs to the Shop. He has taken thugs to an old man to beat him up. Without more plot to tell me he was forced or coerced, he’s an accomplice. I could have actually liked him if they had beat him up because he hadn’t led them to the old man. But now I think he’s worthless. The Thugs are merely there so we can (spoiler!) see them beat up at the end.

We know nothing about Josh/Seth but that he has an addiction to Kung-Fu. No background, no relationships–he’s a cypher. His choices are to not choose. I don’t believe he doesn’t try to run or fight back against the thugs. I don’t believe he would lead them to this shopkeeper. I don’t believe he’d stand back and let the shopkeeper get beat up. And if I DID, that would make Josh/Seth into a worthless person, not a sympathetic one, and not one who gets to go to 13th Century China, or is that 12th? Anyway.

On another note, the only movies that the writers have seen are the Karate Kid movies—Josh/Seth is a dead ringer for Ralph Macchio, and the beat-up gang scene and the old man are plot point for plot point Karate Kid; even Josh/Seth’s past–a kid from New Jersey–is straight from KK’s bio.

2. Pick up Companions at the Corner of First and Main. Well, Joseph Campbell would have been happy. Naive character, after going unwillingly into adventure, is taken to an otherworldly bar. I was waiting for the Star Wars Cantina theme here as Josh/Seth tried to get Jackie Chan to help him. All the main companions will say no first and then there they are marching with him. We merely pick them up as the plot goes on, and we pick them up for no reason. There are no extra characters–those we might pick up, those who might become important–just the Main Characters and the Villains.

3. Josh/Seth’s unprecedented rise to Kung-fu competency: never before has one mastered Kung Fu so quickly except in the Matrix. There are some funny moments here, more than anywhere else in the movie, genuinely good dialogue that plays on J/S’s knowledge of kung-fu moves, or rather the names for moves. This should have been a constant shtick–J/S quoting movie references, etc and pitting them against “reality”. Unfortunately, he seems to know as much about those movies as Wikipedia could tell him. He can list off moves. But what do his movies tell him about plots, expectations, characters?

4. None of the places are really used. I loved the movie, Hero, because each setting became a living character, part of the plot, and part of the action. Here a cherry blossom orchard is a backdrop. A pit that leads to magma is merely a piece of furniture–not a real obstacle for any of the fighting….there’s no threat that anyone will fall into that magma. A field of very long reeds/wheat/something is merely there to cut into for some training. Our characters go from sudden desert to sudden lush green hills–quite the ecosystem juxtapositioning.

5. The characters are plastic with plastic motives. Sparrow is out for revenge. Jackie Chan is along for the ride, perhaps to be the kid’s mentor, though we don’t know why. Jet Li is a monk seeking the staff. The Witch wants immortality–because everyone wants it (apparently there’s only enough juice to make one person eternal). The Jade Warlord wants the staff. The kid has to return the staff to “its rightful owner.” No one in the story thinks about the motivation they were handed on a card. No one thinks of turning back, of making a different decision, of negotiating a deal. There are NO complications. Fantasies can’t be built on a single plot system–with no twists. We know that the characters have to reach their destination–it’s in the script. I’m never in doubt because these aren’t real characters–they are an assembled entourage for the audience. They escort us through the plot–and, dang, they aren’t even that entertaining.

I almost walked out of the movie–it had nothing to hold my interest. Even the fight scenes. Nothing new was given to Kung-fu repetoire–not like the movies it purported to love in the opening credits. I got tired of watching the kung-fu kicks–and I can watch Matrix 1-3, which can’t be comparable to classic Kung Fu, several times!

There was one surprise in the movie, and I won’t give it away, but it wasn’t possible even by the movie’s logic. I think I will show this movie whenever I get half way through teaching a Fantasy writing course. Yes, it still manages to string together a bad plot, but getting to the end of your plot is not the end of your quest, Grasshopper.