Those last words of Collins’ were still running through Hornblower’s mind. He would have to leave the Hotspur; he would have to say good-bye to Bush and all the others, and the prospect brought a sadness that quite took the edge off the elation that he felt. Of course he would have to leave her; Hotspur was too small to constitute a command for a post captain. He would have to wait for another command; as the junior captain on the list, he would probably receive the smallest and least important sixth-rate in the navy. But for all that he was a captain. Maria would be delighted.
C.S. Forester, Hornblower and the “Hotspur” (last line)
The heat of the summer is upon us, and our air conditioning is… struggling. Hopefully we get it fixed soon, because my wife really can’t stand the heat, and if she can’t sleep, neither can I.
Not much happening around here. We’re just plugging away, me at my writing, Piper at her thesis. She just finished her user study, so all she needs to do is write up the thesis itself and defend it. That’s currently the top priority in the household, so I’m doing my best to write around it.
I’ll be at Writers Cantina later this month, where I’ll be on a panel about AI and writing, and moderating a couple of other panels, including one with Larry Correia. That one should be fun. Writers Cantina is a fantastic little convention, started by a bunch of us local writers who occasionally get together at the IHOP up in American Fork. We started after Life, the Universe, and Everything went a little crazy in 2020, mandating vaccines at the very last minute and pulling all sorts of other woke shenanigans. Writers Cantina isn’t explicitly anti-woke, but it’s definitely not woke either. It is a lot of fun, though! Kind of like what LTUE was back in the 00’s, except without a dealer’s room, and the hallway is the main attraction. Oh, and lots of great snacks.
Other than that, there’s not much going on around here. We’re going up to Canada right after Writers Cantina, and as soon as we get back, we’re moving back to Orem. I am both looking forward and really not looking forward to that. Hopefully we can get everything moved over with a minimum of chaos (especially since my wife is starting her new job at the same time). And then we’re having a baby. Yay!
Magic! What would fantasy be without it? About the same place as science fiction if you took out the science. Speculative fiction is all about the sense of wonder that it makes you feel, and the main way that fantasy does that is through magic.
In Brandon Sanderson’s writing class (which he has generously made available to the public, by videotaping and podcasting his lectures), Sanderson divides magic into two broad types: hard magic and soft magic. And while some fantasy readers take issue with the way that Sanderson leans more toward hard magic in his own books, the division he draws between hard and soft magic is still quite useful.
Soft magic is the kind of magic that isn’t fully explained, and is mostly left up to the reader’s imagination. Magical things happen, and we don’t know how or why, but it helps to instill a feeling that the world is vast and wondrous. As such, soft magic is primarily used as a way to enhance the setting.
In Tolkien’s Lord of the Rings, a good example of this is the elves. We know that they are immortal and that they are far more glorious than most other races, but we never really know the full extent of their capabilities. Gandalf is another example of this. Just what was he doing with the Balrog, and how did defeating that ancient beast in a marathon spelunking-hiking-wrestling match? Who knows!
And that’s the biggest criticism of soft magic: if you don’t know how the magic works, how do you know that the heroes won’t just pull a rabbit out of their hat to save them at the last possible moment? Or summon the eagles, which amounts to the same thing. For that matter, if the eagles are so awesome, why don’t the heroes just fly on their backs all the way to Mount Doom? I mean, can you believe what it would have been like if they had to walk the entire way? Somebody might have died!
Hard magic, on the other hand, is the kind of magic where everything is explained. It’s not just magic, but a whole magic system, which operates by rules in the same way that our physical universe works according to rules. In essence, it is the fantasy inverse of Clarke’s third law, where any sufficiently explained magic is indistinguishable from science. The reader might not know all of the rules, but the writer does, and he drops enough hints throughout to make the reader confident that there are rules.
In Lord of the Rings, a good example of hard magic is the ring of power itself. What does it do? It makes you invisible if you put it on (though it makes you shine like a beacon to Sauron and his ringwraiths), and it tempts you with false promises of power, with the goal of leading you back into the clutches of Sauron. If Sauron ever gets the ring, it’s game over, because he will regain all of his powers. Oh, and it also stretches out your lifespan, at the cost of your quality of life (and quite possibly your sanity).
Because we know the rules the govern the magic of the one ring, we aren’t upset when Tolkien uses that magic to advance the plot of the book. Indeed, that is the biggest strength of hard magic: that it can be used in all sorts of interesting and creative ways to advance the plot.
“But hold on!” the advocates of soft magic will say. “If you reduce your magic into a fancy plot device, it kills the sense of wonder that comes with the best magic systems.” After all, there’s a reason why Tom Bombadil is in the book. There are two big things that happen when the hobbits make their detour to his house: first, Tom Bombadil puts on the ring and shows that it has absolutely no effect on him; and second, when Frodo puts on the ring and goes invisible, Tom Bombadil demonstrates that he can still see Frodo.
It’s subtle, but it’s there—and believe it or not, it’s there for a reason. By demonstrating that there are higher or more powerful forces that can supersede the laws of magic surrounding the one ring, Tolkien preserves that sense of vastness and wonder that more rules-based magic systems tend to lose.
There is a rejoinder to that point, however. When hard magic is done well, it creates its own sense of wonder, more akin to what we feel when we’re playing a good video game. It’s the wonder that comes from imagining what it would be like to exercise the kind of magical powers that we see the characters exercise. Brandon Sanderson is a master of this, and my favorite example is from his novella The Emperor’s Soul. By the end of that book, I couldn’t help but daydream what I would do if I had my own set of soulstamps. One of them would make me an awesome writer, the other an awesome marketer, and the third an awesome publisher. How cool would that be? (Okay, maybe you have to be an indie author yourself to fully get it… but still!)
As you can probably guess, though, the best fantasy novels feature a blend of hard and soft magic—and Sanderson says as much in his lectures. There’s a reason why he draws from Lord of the Rings for examples of each, much as I’ve done here. And ultimately, it’s less of a binary and more of a spectrum. The important thing is to know when to lean more toward the soft side, and when to lean more to the hard side. The best authors can play to the strengths of both to capture that magical sense of wonder that makes fantasy such a pleasure to read.
“Think on it, Chani: that princess will have the name, yet she’ll live as less than a concubine—never to know a moment of tenderness from the man to whom she’s bound. While we, Chani, we who carry the name of concubine—history will call us wives.”
Worth listening through to the end. I think Malcolm misses some of the deeper nuances of Epstein’s (alleged) operation, but there are plenty of people schooling him on it in the comments to this video.
Epstein did not kill himself… and if it ever became public who did, it would probably start WWIII (or massively escalate it, if indeed it has already started). We certainly live in interesting times.
A couple of weeks ago, I posted my thoughts on AGI (artificial general intelligence) and all of the doom-porn floating around that we are years, or possibly even months, away from the emergence of an artificial superintelligence that will either usher in an Edenic post-scarcity utopia, or exterminate all of mankind. Believe it or not, this is a big fear in Silicon Valley, among the people who are building these systems (though I suspect that the top-level executives don’t really believe it and are instead exploiting that fear to serve their own ends).
My view, in a nutshell, is that we will not see the emergence of AGI or superintelligence under the current research paradigm, because the current paradigm is based on pure materialism, assuming that intelligence itself is merely an emergent phenomenon, and that if the conditions for that emergence can be replicated, a human-level (or superhuman-level) intelligence will be created. My prediction is that in the next 1-3 years, AI development will run up against a wall, and all of the scaling in the world will fail to produce the sort of drastic gains that the doomsayers are predicting.
Well, it seems that we may be much closer to that wall than I supposed. I’m not super familiar with this YouTuber, but I’ve been following a lot of his content recently, and he seems to be very intelligent and also very keyed into what’s currently happening in AI development. And in this video, he may have just pointed out the wall that we’re about to run up against—if indeed, we haven’t already.
In any case, it’s worth watching, especially if you are looking to incorporate AI into your work life. Lots of practical advice, too.
The Hegemony Consul sat on the balcony of his ebony spaceship and played Rachmaninoff’s Prelude in C-sharp Minor on an ancient but well-maintained Steinway while great, green, saurian things surged and bellowed in the swamps below.
Part of it has to do with the genre’s nostalgic yearning for a distant past. One way of understanding the modern era is to see it as an unending series of political revolutions that have spread like a slow-moving contagion from one part of the world to another.
It started with the English Civil War, then died down for a while until it manifested in the American Revolutionary War, which resulted in the creation of the United States. After that, it spread to France, leading to the French Revolution and a very messy tug-of-war between the Republicans and the Monarchists, ultimately leading to the permanent end of the French monarchy.
Then we had the aborted revolutions of 1848, which ultimately gave us Karl Marx and Socialism, the Bolivarian revolutions in Latin America, the American Civil War, which culturally was something of an echo of the old English Civil War (with the Cavaliers in the south and the Puritan Roundheads in the north), and ultimately the Bolshevik Revolution which gave us global communism, etc etc.
I won’t belabor the point (though if you want to hear a good podcast that covers all this stuff, check out Revolutions by Mike Duncan). The point is that the modern era has basically been one long series of very messy wars to depose the old medieval kings and emperors. Today, the only monarchies that survive are either constitutional monarchies that no longer exercise direct political power (for example, King Charles of the United Kingdom), or else they are strange aberrations that only exist because of unique regional history and economic circumstances (for example, Mohammed bin Salman of Saudi Arabia, whose dynasty depends almost entirely on the country’s oil reserves).
Fantasy is all about hearkening back to a romantic view of the premodern past, even if that past never existed. So it shouldn’t come as a surprise that most fantasy—especially classic fantasy—tends to feature kings and kingdoms. Never mind that historically, many medieval kings were almost totally beholden to their dukes, especially in the time before gunpowder, when the dukes could just hole up in their castles and openly defy their kings. That’s why Europe has so many medieval castles.
Of course, some fantasy like George R.R. Martin’s Song of Ice and Fire does a really good job of capturing the complex dynamics of feudal politics. A lot of the old sword & sorcery also plays around with those kinds of medieval political tensions, balancing the nostalgic aspect of fantasy with the savagery of backstabbing courtiers and brutal hand-to-hand combat. Robert E. Howard’s classic Conan the Barbarian stories are a great example of this, with Conan ultimately rising to become King of Aquilonia.
Both grimdark and sword & sorcery embrace the medieval savagery—indeed, it’s a large part of the nostalgic yearning. Other subgenres play down the savagery, either by making the king a distant power, or by making the world out to be a lightly-populated wilderness. Lord of the Rings is a good example of both, though it still defaults to feudal monarchy as the majority political system.
Is there a subconscious yearning for old-fashioned monarchy that fantasy quietly fulfills? Perhaps, but I don’t think so. If kings and kingdoms are the default system of government in most fantasy novels, I think that’s because it was the default for much of the medieval era. In books like Game of Thrones where the political intrigue is a key aspect of the story, you get into the more complicated aspects of feudal politics, but that’s not necessarily a requirement.
Personally, I enjoy fantasy with a little bit of medieval-style political intrigue, though most grimdark tends to overdo it. I did really enjoy Larry Correia’s Saga of the Forgotten Warrior, though (no spoilers please—I haven’t yet read the last book!) Robert E. Howard hits the sweet spot, I think, with a world so wild and savage that no king has managed to subdue it, and even a barbarian can rise to become a king.
