Nakul stared. The woman’s pupils were slitted like a snake.
The youth nodded.
“Why, Boy? Show you comprehend my meaning.”
He shifted apprehensively; surveying the cluttered hut. Nestled beneath the washbasin, an immense python lay curled upon itself. Seemingly attentive, the snake slowly blinked pronounced, round, brown eyes.
“Why are we and others like us damned?”
Nakul had fled home and everything he knew to escape death. He cursed those afraid of him. But, the animal speak he cherished.
“Every time I use the power; I lose a part of me.”
Keenly conscious of Indali’s piercing gaze, he subconsciously ran his tongue delicately over his teeth. The needle-sharp canines filled him with a sense of exhilaration.
“Nakul. You saved your life the day the cobra bit you. Most would have died. The price though was a fragment of your humanity.”
“You can’t get something for nothing.” is an old familiar saying. Consequently, anything worth having in this world is only gained with hard work, sweat and even a few tears. If one is lucky, the work required is well-suited to one’s sensibilities and becomes a joyous labor. Yes, there are people who live easy, by subjugating others or perhaps on inherited wealth. This is the exception though rather than the rule. Until limitless energy, endless supplies of raw materials and free labor (without any human cost) is discovered, everyone must exert effort and spend time to receive material gain. No matter how small the desire, it necessitates some form of sacrifice. Yet, the setting of a fantasy or science fiction story distorts, weakens or altogether negates this maxim. Readers can enjoy immersing themselves in a world full of magic or advanced technology (and with a willing suspension of disbelief) feel as if anything is possible. For example, the replicator, from Star Trek: Next Generation, is an interesting story element often paid little heed. With ample supply of energy this device allows humanity to instantly order up any form of matter desired. Viewers see the characters use this technology primarily in the storyline to order food or beverage at a moments notice. But, I don’t see anything limiting this ability, so long as the desired specifications for an object are inputed. In this futuristic, utopian setting, humans now have no need for money. There isn’t anything to be bought. There is an endless supply of essentially anything, provided the technology is available and sufficient energy. And there it is! The limiting factor remains. My musings have brought me back full circle. “You can’t get something for nothing.”
Let us contemplate how magic is typically portrayed in a story and think about the rules governing its use. There is almost always an economy of power dictating, when, how often and in what fashion magic is used. It is a very rare to find an example of a character with unlimited magical powers. Effortless use of magic tends to be found more often in tales written for youth or when the story’s purpose is to entertain. Consider Bewitched, a 1960’s sitcom featuring the character, Samantha, a good-natured witch living as your average suburban housewife. She can do practically whatever she wants with only a twitch of her nose and pointing her finger. I Dream of Genie replicated this format, simply replacing the witchery with the all-mighty power of the jinn. Of course, it was necessary to have some limitations to their powers, otherwise there would be no struggle to drive even these simplistic plots. The shows were light-hearted comedies. The audience wasn’t looking to see “under the hood” at the magical engines. There was not mention of how the magic worked. It just did.
Magic begins to be more reflective of real life attitudes and values when encountered in highly developed fantasy settings. Ultimately, the existence of magic, supernatural powers or sci-fi technology gives an author great fodder to be used in tackling heftier topics. But, before dipping our toes into a more serious discussion, let’s look at the motif of magic as an arcane study. The Harry Potter series veers closer to a more believable rendering of magical power with the J. K. Rowlings’ fabrication of a “school for magical arts”. In Harry’s story, the magical world is able to perform great feats, but only with intensive study and lots of practice. Genetics is a bit of a wild card for Rowlings’ characters. Not unlikely in sports, some are just born with more raw talent.
Many RPG gamers, from the 1970s and 80s, undoubtedly feel familiar with what is presented in J. K. Rowlings’ books. The magic-using character classes designed for play in Dungeons and Dragons also follow this path. Magic-users must travel and adventure in order to gather treasure and experience to make their magical studies worthwhile. Just like Hogwart’s students, these imaginary characters shop for magical items, gather spell components and commit to memory obscure knowledge. They too, early in their careers, are limited in terms of the magic they can successfully perform. Further constraining their power, once a spell is discharged it must be painstakingly prepared again. The cycle of study, researching, memorizing, and obtaining additional magical component is never-ending. The rules and mechanics of the game are complicated and at times frustrating, yet they give it life and purpose.
The source of power in our world is readily attributed to science, technology and other educational endeavors. But, what does one resort to when the mundane ways of getting something we want fail? Depending on how important it is to us, we might find ourselves turning to a faith-based solution. After all, the miraculous requires the intervention of something extra-ordinary; better yet, supernatural. Thus, we pray, beg, plead and bargain with any higher power, we feel might listen. Perhaps, skepticism is high and faith low. Submitting our laundry list of requests, we already expect disappointment. In small matters, we accept the silence, thinking “something” beyond us must know better. We console ourselves, proclaiming the ill we endure will ultimately lead to a better opportunity unasked for. Yet, what happens when the request involves grave or dire circumstances? One may desperately offer to sacrifice anything for an answer to their prayer. This need causes people to recite or perform lengthy religious formulas, fast, abstain from all-manner of things, exorbitantly give alms, devote all their time to charitable works and even subject themselves to pain, in an attempt to cajole from the heavens speedy, effective aid.
Religions evolve from the desire to ward against and make sense of the evils and misfortunes of this world. Proffering a sacrifice to buy salvation is the ultimate result. It is here one finds the crux to why humanity invents and tells stories. We use fiction, as a means of mulling over our circumstances, as mere mortals, and in the process map out a remedy for it. Our favorite characters, settings and plots help us to cope with the ravages, this indifferent life can put us through. A vivid fictional portrayal of this is found in the popular television series, American Horror Story. The Coven season depicts, Marie Laveau, a voodoo priestess, performing a powerful fertility spell. A component to the ritual requires Laveau to ingest, straight from the fire, the hottest type of chili pepper in existence. The character professes her belief that displaying a willingness to suffer will cause the spirits to “sit up and take notice”. Watching the scene, one wonders what circumstance in the real world would make us willing to suffer so greatly. It’s only a story some might say, but cultures in the not-too-distant past ceremonially slaughtered individuals as offerings to obtain a greater good for the many. Modern society abhors the notion of human sacrifice, but elements of the practice remain. We have offered to the gods the choicest animals, other valuables, arts or the best share of harvested goods. What was presented mattered not as long as it was the best, the most beautiful and invaluable.
The idea of only gaining great power through an immense sacrifice is central in many high fantasy plots. A well-known example from current pop culture is the story of the arch villain, Thanos, from the Marvel Universe. He seeks an unimaginably, powerful artifact. The bearer of this item is able to alter the very fabric of time, space and existence. His goal is to reorder all life in the universe. Thanos has an interesting perspective of the known, physical world. He is haunted by the suffering of those too weak to grab their fair share of what they need to survive. He sees over-population throughout the universe and resulting scarcity of resources as the root cause of war and conflict. In order to ensure a more peaceful future, he embarks on a quest to gain the power to eliminate half of all life in the universe. Interestingly, the notion of wanting to bring an end to warring over resources and providing all with ample living space is a noble one. But, his willingness to sacrifice trillions or more is misguided to say the least. It is an evil plan of immense proportions. It is worth pointing out, one can readily identify shades of this scheme within our own human history, which is full of instances of ethnic cleansing and wars for living-space. The implement Thanos is seeking is a gauntlet powered by “magical” stones. They must be collected and inserted into the glove. One of the stones needed, to complete his plan, can only be obtained by sacrificing someone he loves. Knowing her father to be cruel and always self-serving, his daughter believes Thanos has failed. She is convinced he is incapable of love. Any villain, worthy of the title though, is complex and harbors within good intentions long laid aside; even love. To everyone’s dismay, Thanos does gain the stone because does love his daughter. In a perverse fashion, he is committing a great act of love, self-denial and sacrifice. Tragically, Thanos’ ability to parse good from evil is eclipsed by his fanatical devotion to his belief that he is actually saving the universe.
Next time…I will explore characters, who gain magical or supernatural power by making sinister bargains with the darker forces in fiction.
Do you enjoy fun and comedic characters who absurdly can do just about anything? Know about other stories of magic/power involving characters who study and refine their craft at a school, academy or as an apprentice in a guild? Lastly, share with me your favorite story-lines in which a character must sacrifice something they hold dear or someone they love to access magic/power.
Not much to say…just posted chapter two. Looking to see if you all feel like you are starting to get some more depth to the characters Riker and La Croix.
Do you feel that the circumstances are believable?
What do you think of the flight briefing doling out the assignments to the pilots? I especially enjoyed writing that part.
Let me know if you were confused at any point while reading.
Is Riker too much like Han Solo? I’m trying to avoid that! Never felt Lucas allowed Han to develop enough in the movies. Some of the book series, the ones “no longer canon”, do paint a more angsty and dark side of Han Solo. I’m trying to go more for a character who lives a life of crime, but has a hidden, often neglected desire to do good. Probably will need to explore more his relationship with Sean and figure out where his kids came from etc.
Am I painting enough tension with the impending shuttle transfer of Riker to the orbital station above Jupiter?
Lastly. Is it clear that family, clan, cartel, syndicate are all different ways of referring to the crime organizations that compete to control the drug trade?
Hello to friends and family. As you all know I have been writing. Finally, I have dropped the first chapter to a book I am trying to author. I know many of you may not instinctually gravitate to science fiction. Hopefully, you’ll take the time to give it a serious read. I assure you I will appreciate it. This is a rough draft. It shouldn’t get too wide of an exposure out there on the internet, so I feel a bit more comfortable publishing raw on my website.
I’m open to feedback. I’m curious to see how you react to things like names I’ve used for characters, places and various items in this story. I’m not wedded to any of them. Let me know if the pacing and balance between description and dialog works. Do you feel a connection with any of the characters? Are they believable? The name of the book is tentative of course.
If I subconsciously wrote too close to some other story you know of please, please speak out. It’s hard sometime to know if an idea has come from something read or watched years ago.
Anyone with military experience I would love to get your opinion on the ranks I use for characters. I really was grasping when deciding how to title officers etc.