Do Androids Dream of Electric Sheep?

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(Redirected from Elementals in fiction)
It has been suggested that Classical elements in popular culture be merged into this article or section. (Discuss)
Elements, a common theme in fiction particularly fantasy are properties of various objects, living things, and the environment. Founded upon philosophical concepts in the Greek, Chinese, and Japanese traditions amongst others, elements are often expanded in fiction to include more than the traditional four or five properties associated with antiquity.
Elements appear in a wide variety of media, including novels, film, television, comic books, table-top role-playing and video games. In music, there are also a number of concept albums featuring elemental themes.
Classical
Nearly all conceptualizations of the elements include fire, water, earth, and air, in addition to a fifth element, which varies by tradition. In fiction, as in philosophy, the elements are also affiliated with more abstract concepts such as personality and temperament.
Fire
Fire is most commonly depicted as a destructive element and wielded by characters with an aggressive disposition. Environments with an affinity to fire tend to be hostile and dangerous. Fire is invariably opposed by water.
Water
Water is often depicted as a restorative element, due to its real-life importance in sustaining life. Characters with an affinity to water are often peaceful, although many have shown a propensity for violence when provoked. Water environments tend to be serene and abundant with life. Water is opposed by fire.
Earth
Earth is depicted as an element of stability, and is often wielded by characters who are physically strong or imposing. Characters aligned with this element can have tendencies toward either passive or aggressive behavior. Earth is naturally opposed to air.
Air
Air (also referred to as wind) is depicted as an element of freedom and caprice, and is often wielded by carefree or whimsical characters. Characters aligned with this element tend to emphasize speed over strength. Where environments have an affinity to air tend to be at high elevations or actually suspended in the air. Air exists in opposition to earth.
Aether/Fifth Element
The fifth element – often called “Aether” or “Ether” – tends to be more abstract than the other four elements in that it has no clear physical manifestation. It can be depicted simply as pure energy with no properties, or as the power underlying the other four elements. Where characters in fiction wield the fifth element, they most often play a significant role in the plot, if they are not the main character.
Non-Classical
Creators of fiction have developed the elements concept in many ways, some going as far as to disavow the classical elements and replace them with an entirely new array, while others have used the classical as a foundation and expanded upon it. The following are non-classical elements that have appeared in various media. As this list can quickly become exhaustive, the entries below are limited to elements that have appeared in at least several works of fiction.
Ice
Most often a derivation of water, ice is sometimes treated as its own element. Characters aligned with ice are more likely to bear a cruel disposition, and exhibit more aggressive behaviors. Environments with an affinity to ice also tend to be more hostile and treacherous to navigate, not unlike icy environments in the real world.
Light/Holy
Light in fiction is depicted as the element of goodness or truth, such that is often coterminous with “Holy”, as in the Final Fantasy series of video games. Light/Holy can have either restorative or destructive tendencies, most often a threat to those aligned with “evil” or “darkness”. It is also commonly associated with life and the living. Characters with an affinity to light are often portrayed as physically appealing and/or non-threatening, and are looked upon with favor by the rest of the world.
Shadow/Darkness
Shadow or Darkness as an element in fiction tends to be associated with the forces of evil, or at least with those maligned by most of the world. It is also commonly associated with death and the dead (or undead). Characters with an affinity to shadow or darkness are often physically unappealing or intimidating, all the more reason for them to…(and so on) To get More information , you can visit some products about decorative ceiling light, robo scan light, . The LED High Power String Light products should be show more here!

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The Medieval Murderers

The Medievil Murderers are a set of four books written as anthologies by a group of historical crime novelists.

Set up by Micheal Jecks, author of the Templar Mysteries, the group consists of a number of popular historical crime authors (including Michael Jecks, Susanna Gregory, Bernard Knight, Ian Morson, Philip Gooden, and Simon Beaufort) who each write about sleuths in different historical periods. The idea behind the Medievil Murderers books is that they follow a single item or artifact through the time periods, and the sleuths have to solve the crimes that are commited around them. As the books are named the Medieval Murders, it is no surprise that these crimes are usually murder.

The books each contain a set of short stories which stand alone, introducing historical fans to characters they may not have heard of and providing additional material for characters they have. In addition, there is a framing story, describing the origin of the artefact, and a short modern day ending.

The Tainted Relic covers a sliver of wood originally believed to be part of the cross. Cursed to kill anyone who touches it, it passes down through the ages surrounded by mayhem and murder. Its value is such that men would kill to possess it, but the man who possesses it always dies, making the final fate of the sliver in the afterword bitterly ironic.

Sword of Shame, the second book again follows an artifact, this time a sword that was crafted to defeat the invaders of Britain, but which again carries a dreadful curse. Sword of Shame suffers slightly because its conceit is too close to the first books.

In House of Shadows, the cursed item is a location. A monastery cursed after the death of a young monk is afterwards followed by years of misfortune and death within its walls. Plots, scheme and intrigues abound, and in each era the sleuths must untangle the web of its past.

The Lost Prophecies focuses on a book of prophecies washed ashore in Ireland. One of the best of the series, the sleuths have to resolve the murders surrounding the book – because who would not kill to know the future?

As an introduction to historical crime thrillers, these are useful, particularly if you want to try several authors at once before settling on one series. Likewise fans of one author may appreciate seeing their favourite sleuths effectively guest-starring in a longer novel.

It’s a creative conceit for a series, and aside from Sword of Shame which is the weakest entry in the series, all the books are solid reads. By the fourth book, the writers have managed to pull their styles together and their individual sections follow together more effectively.

In short, for a fan of historical crime, one of these is worth picking up. if you like them, try the others.

Further reading
http://www.squidoo.com/MichaelJecks

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FORWARD

The 188 stage Hero’s Journey (Monomyth) is the template upon which the vast majority of successful stories and Hollywood blockbusters are based upon. In fact, ALL of the hundreds of Hollywood movies we have deconstructed (see URL below) are based on this 188+ stage template.

Understanding this template is a priority for story or screenwriters. This is the template you must master if you are to succeed in the craft.

[The terminology is most often metaphoric and applies to all successful stories and screenplays, from The Godfather (1972) to Brokeback Mountain (2006) to Annie Hall (1977) to Lord of the Rings (2003) to Drugstore Cowboy (1989) to Thelma and Louise (1991) to Apocaplyse Now (1979)].

THERE IS ONLY ONE STORY

THE 188 STAGE HERO’S JOURNEY:

a) Attempts to tap into unconscious expectations the audience has regarding what a story is and how it should be told.

b) Gives the writer more structural elements than simply three or four acts, plot points, mid point and so on.

c) Gives you a tangible process for building and releasing dissonance (establishing and achieving catharses, of which there are usually four).

d) Tells you what to write. For example, at a certain stage of the story, the focus should be on the Call to Adventure and the micro elements within.

ABRIDGED TIPS, EXCERPTS AND EXAMPLES:

(simply go to http://www.heros-journey.info/ for full details)

*****Secondary characters are functional*****

Secondary characters are functional, that is, they most often exist to fulfil specific story functions, especially help the Hero through his (or her) Transformation.

Once you have figured out what your Hero’s Transformation will be, then you can decide which secondary character Archetypes will be most useful. The subplot evolves from thereon: you give the secondary characters their own challenges to resolve.

In The Quiet Man (1952), Mary Kate’s function is to demonstrate and complete the Hero’s Transformation into the New Self.

Learn moreÂ…

WRITE THAT SCREENPLAY!

The Complete 188 stage HeroÂ’s Journey and other story structure templates can be found at http://www.monomyth.info/

188 stages of the Hero’s Journey can also be reached from http://www.story-structure.org/

You can also receive a regular, free newsletter by entering your email address at this site.

Kal Bishop, MBA

**********************************

You are free to reproduce this article as long as no changes are made, the author’s name is retained and the link to our site URL remains active.

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