Post 1

The Inclusion and Development of Technology Within the

Literary Context of 20th-21st Century High Fantasy Novels
English A Cat: 1
Body Word Count: 3306
Abstract Word Count: 202

Post 2

Abstract
This extended essay will ask the following question: To what extent can the
genre High Fantasy be stretched to encompass the use of technology and its
advancement within a literary context, and what are the implications that arise due to
this exploration? It will be answered through the analysis, specifically regarding
technology, of The Kingkiller Chronicles by Patrick Rothfuss, The Hobbit and The Lord
of the Rings by J.R.R. Tolkien, The Lightbringer Series by Brent Weeks, The Beka
Cooper Trilogy by Tamora Pierce, The Stormlight Archive by Brandon Sanderson, The
Mistborn Trilogy by Brandon Sanderson, and its companion novel Alloy of Law also by
Brandon Sanderson. The analysis of the works of literature will be in a process of:
examining how technology is used, whether or not it is used with the books system of
magic, and if the author takes liberties with the novel in relation to the definition of
High Fantasy (stated in the introduction). The exploration will conclude that though
there are many ways to view technology use in High Fantasy, ultimately the decision as
to whether or not a novel is High Fantasy is personal, and is therefore solely the whim of
the author, critic, or reader.

Post 3

Table of Contents

Abstract..2
Table of Contents..3
Essay...4
Works Cited16
Bibliography...17

Post 4

Emily Post
Kathleen VandeGevel
Extended Essay
30 January 2014
The Inclusion and Development of Technology Within the Literary Context of
20th-21st Century High Fantasy Novels
The literary genre Fantasy is often combined with its somewhat similar
counterpart Science-Fiction. However, when examining solely Fantasy, a brief
definition is fiction about imaginary worlds or happenings (Turco 61). Of course, it
should be noted that the genre has two very distinct sub-genres: High Fantasy and Low
Fantasy. The difference between the two lies particularly in the setting of the world
within the novels. In Low Fantasy, the world is Primary (Earth, as in rational or familiar,
usually with the inclusion of magical elements, such as in the genre magical realism)
and in High Fantasy the world is Secondary (completely fictional). This distinction is
important because it lends High Fantasy to further implication of magic and also other
species (elves, dwarves, etc.). Another important characteristic of High Fantasy is that
there is usually an employment of medieval technology and feudal structures. It is
within this characteristic where the genesis of many of the criticisms of the genre lays.
For example, when asked why a person dislikes the genre, a reason often provided is
that its unrealistic that a world would have so little development over such a great
period of time and remain so stagnantly within the realms of medieval structure. That
being said, it is important to not only note the authors and novels that challenge this
genre rule, the ones that adhere to it, and the ones that provide a rational explanation

Post 5

for following it, but also the authors reasons behind these choices and their respective
implications within the genre and how they are viewed overall in the spectrum of
literature. This exploration, then, will determine the extent to which the genre High
Fantasy can be stretched to encompass the use of technology/technological
advancement in the literary context.
There are certain books that will serve as examples for each of these categories
within this exploration. First: The Kingkiller Chronicles by Patrick Rothfuss, The Hobbit
and The Lord of the Rings by J.R.R. Tolkien, and The Lightbringer Series by Brent
Weeks will demonstrate the use and development of technology within High Fantasy.
Second, The Beka Cooper Trilogy by Tamora Pierce and The Stormlight Archive by
Brandon Sanderson will show adherence to the rule. Lastly, The Mistborn Trilogy by
Brandon Sanderson will serve as an example for an author providing a reason for little
to no technological development within their fictional world. Each of these series
exhibits a continuation of a storyline over years, through the use of both natural time
continuation and/or flashbacks to earlier times. This effect will create the basis for a
longitudinal study within literary confines that will determine whether each series has
remained true to its genre, or if the technological advancement is too great for the
novel to be considered High Fantasy (under the parameters mentioned prior in this
essay). For the basis of analysis, it will be assumed that each series heretofore is High
Fantasy, and it shall be viewed accordingly from this perspective unless deemed
otherwise by evidence presented in the course of this exploration.
Within the vast expanse of High Fantasy novels there are two prominent methods
of expressing the use of various technologies and their advancement over the course of

Post 6

time. The first, more common, method is the intertwining of technology with the storys
system of magic. This is method is a growing pattern throughout the modernization of
the genre. As such, this category contains more examples than the other categories in
this exploration. The second method, showcased by one example in this essay, is to
overtly display technology and its advancement throughout the novel. This means that
the technology stands on its own without magical entanglement.
The first example of a book series showing technological advancement is by
Patrick Rothfuss. This series essentially utilizes method one. The Kingkiller Chronicles
spans the majority of the life of Kvothe, the protagonist-- it goes between him telling his
story to the Chronicler in Interludes and the story itself in the main Chapters. The
trilogy begins with the book The Name of the Wind. In this book, Kvothe comes to
attend the university. It is here where student can study subjects such as linguistics,
medicine, arithmetic, alchemy, sympathy, and artificery. One of Kvothes particular
talents lies in artificery, which is basically real-world standard engineering combined
with the application of runes usable in a variety of combinations to perform a wide
assortment of effects on various materials (Sygaldry), the latter known better within
the novel as sygaldry. An example of one of these inventions is Kvothes Arrow Catch,
later renamed The Bloodless. The scheme, or blueprint, is described as a large roll of
paper covered in diagrams, complicated sygaldry, metallurgical symbols, and
painstaking formulae for kinetic conversion (The Wise Mans Fear 321). Generally
speaking, the sygaldry is activated by the material and motion/force of the arrow and
causes the arrow to stop mid air and fall to the ground. This was a new invention within
the story, indicating the development of a new technology. This plot device not only

Post 7

utilizes a form of the magic in the story, but it builds upon that so the entire craft is
able to suggest to the reader that artificery is a reasonable outlet for technological
advancement. In fact, it is often mentioned in both The Name of the Wind and its sequel
A Wise Mans Fear that many towns depend on Arcanists (certified graduates of the
University) to provide services to the people. A notable example of this is Imre, the town
across the river from the University. Its proximity to the University allows for it to have
certain technologies. Access to plumbing...improved the towns air. Quality glass was
easy to come by, so windows and mirrors were commonplace. Eyeglasses and other
ground lenses, while expensive, were readily available (The Name of the Wind 355) .
Smaller, yet significant, contributions to this point are the brief mentions Rothfuss
leaves throughout the story for the reader to spot. These mentions are often related to
the history of the world. For instance, a lute player of the Edema Ruh (prestigious
traveling players), Kvothe sheds some light on the history of instrumentation when
confronted with what he describes as a near ancient old Court Harp; he furthers the
statement by noting the progression and modernization of instruments through the
ages. Patrick Rothfusss choice to combine technology with his invented magic, as well
as scattered and brief history lessons, allows for a seamless transition between the
development of inventions without stepping outside the realms of High Fantasy rules.
The next example is from J.R.R. Tolkien. These novels are traditionally more
method two in that technology and its advancement is generally held separate from any
system of magic. In Tolkiens novels, he spans numerous years between The Hobbit and
The Lord of the Rings trilogy. Again, this helps to provide a basis for comparison over
time because in The Hobbit, Bilbo Baggins is a young hobbit, but by the later books he is

Post 8

replaced as protagonist by his younger relative, Frodo, because he has grown

significantly older. For the most part, these books are regarded as some of the most well
developed stories of the genre, from linguistics to worldbuilding. However, the strongest
example of technological advancement is in only a brief mention of both Elven and
Dwarven armor and weapons. It is important to note the differences in the equipment
for each species. Each species developed them differently according to its own
requirements and desires in a very realistic manner. It is appropriate to use the word
realistic in this case, because it is unreasonable to presume that species with
geographical and cultural differences as extreme as Elves and Dwarves would have the
same uses, techniques, and styles for weapons. [T]he weapon[s] ha[ve] evolved as the
use of materials to make [them] ha[ve] changed (Dwarven Weapons and Armour).
This not only displays a profound amount of worldbuilding skill on the part of Tolkien,
but also serves to reinforce this explorations thesis of change expressed through the
course of a series via technological development or evolution, as paraphrased from the
prior quotation.
Finally, The Lightbringer Series by Brent Weeks is included in this category, as
opposed to the third category, for one very important reason: it contains guns. It is very
unusual, if at all, that a reader can find the use of guns in a High Fantasy novel. This is
due to the implied distaste that many High Fantasy authors have for guns in such a
traditionally medieval setting, usually because of their apparent ease of use and,
accordingly, their distance from the period ideals of chivalry. For these reasons, the
addition of firearms to the series is a fairly controversial move on the part of Brent
Weeks in regards to remaining within the realms of High Fantasy. However, even with

Post 9

the addition, the magic system used in the series is extremely well developed in way that
helps explain the lack of other conventional technologies. An example of this is found in
the buildings and lifts (elevators) in the Chromeria. To explain, it is necessary to have a
minute understanding of the magic used. This magical system deals with drafting light
and colors, in a spectrum of 7 from sub-red to super-violet, into a tangible substance.
The landmark buildings of the Chromeria are the color towers-- one tower made from
the luxin (the substance drafted, or conjured, by the drafters) for each color except
super-violet (the drafters of this color are housed in the Prisms tower, the figurehead of
the Chromeria). The lifts within these skyscrapers are operated through the drafting of
luxin. In fact, since drafting requires the light, the buildings are specially engineered to
rotate with the sun so that they can receive the most light possible during every hour of
the day. These technologies were developed through the use of magic, but they utilize
normal skills such as architecture and engineering-- giving the assumption that there
are many non-luxin buildings in this world as well. For these reasons, it can be
extrapolated that Weeks series utilizes both method one and two due to its overt
expression of technology separate from magic (two) and technologys combination with
magic (one).
As mentioned previously in this exploration, High Fantasy is traditionally riddled
with medieval technologies and feudal structures, and thats the way it generally
remains. The next couple novels analyzed will uphold this time honored tradition by
altogether replacing technology with magic and focusing on a more plot driven storyline,
be it rooted in action or lore. This is in direct contrast to the previous set of novels,
which stylistically tended to branch off on tangents which, though interesting, were

Post 10

seemingly irrelevant to the basic plots of the novels. The following novels tend to be
more straightforward in nature (with some exception toward Sandersons style) which
leaves less room for the inclusion of explanations of the worlds less significant facets.
The first example is in the land of Tortall, the setting of the Beka Cooper trilogy
by Tamora Pierce. First off, the systems of weaponry are highly traditional. There is
specific use of swords, as well as batons (carried specifically by the Provosts Guard, a
sort of police force). However, the batons make are almost special, the sword bit into
the wood, struck the lead core, and got stuck (Terrier 368). This suggests a minor form
of technological progression, but nothing that would seem out of the realms of
medieval High Fantasy. Also in these novels, there is a system of magic. However, this
magic is very under explained by Pierce. This is likely due to the lack of main characters
with educated magical ability (until the third book of the series, Mastiff, in which there
is some minor elaboration)-- that being said, Beka Cooper does have an innate gift
though she is not educated in its source or progression of abilities. For this reason,
magic is not specifically noted as being combined with any technology, though it can be
seen on several occasions replacing certain modern conveniences (i.e. there is a charm
effectively used as birth control). It is important to keep in mind the explicit difference
between magic combining with technology and magic replacing technology in order to
understand the difference between these types of High Fantasy novels. Thus, the prior
form supporting the inclusion and even the development of technology whereas the
latter negates it almost completely.
The Stormlight Chronicles by Brandon Sanderson begins with The Way of Kings.
This novel is complicated in that the point of view switches between characters every

Post 11

other chapter, but simple in its inclusion of technology. Highly rooted in past lore as it
influences present action, The Way of Kings explores phenomena of a more spiritual, or
magical, nature rather than technological. One of these magics, the fabrial, is described
as being a technology and having a science of its own. Contemporary artifabrians,
engineers/artisans, made breakthroughs in fabrial technology. There are five known
types of contemporary fabrial in three different categories. However, no amount of
fabrial science had even approached re-creating relics from past eras (Fabrial). This
prospect introduces an interesting argument to this exploration. For instance, though
what non-literary humans consider technology has indeed been replaced by an object
based in origins of magic, this fabrial technology belongs to a literary world, which since
this is High Fantasy is by very definition separate, different, and outside of the universe
in which readers are familiar with. The significance of this finding is emphasized when
viewing the literature through a cultural lens, and being thoughtful of the entirety of
aspects which enter into the development of a culture (e.g. geography, tradition, etc.).
Because of this, an argument could be made that this series belongs in the first set of
series, however, as it stands, fabrial are essential magical objects. Therefore, they are a
replacement of technology as known by readers, and this series remains an example in
its current category.
Finally, this last category is far less prominent than the prior two and thus has
the least amount of examples. This is partially due to the specific nature of the category,
as defined previously: when, in the text, the author specifically provides reason for little
to no technological development within their fictional world. If the definition were
worded more ambiguously, the following series could very well fit into the prior

Post 12

category. However, this category exists due to the implications of the authors
specification. For instance, specifically stating a reason, as opposed to simply writing in
replacements like in the previous category, implies that without said reason technology
would indeed develop. Likely, it would even flourish. Nevertheless, the reason is in place
and as such requires analysis in the next paragraph.
Mistborn by Brandon Sanderson, the final High Fantasy series analyzed in this
exploration, stands apart from the other novels in this essay as an enigma. A trilogy
followed by a companion novel, this series explores a couple facets significant to this
exploration. First of all, the reason Sanderson provides to the readers, in text, for not
including developing technologies lies on the shoulders of the Lord Ruler. The Lord
Ruler didnt just forbid certain technologies, he suppressed technological advancement
completely. It seems odd now that during the entirety of his thousand-year reign, very
little progress was made. Farming techniques, architectural methods-- even fashion
remained remarkably stable during the Lord Rulers reign. He constructed his perfect
empire, then tried to make it stay that way. For the most part, he was successful. Pocket
watches...that were made in the tenth century of the empire were nearly identical to
those made in the first. Everything stayed the same. Until it all collapsed, of course
(Hero of Ages 242-243). Brilliantly accomplished by Sanderson, this passage not only
provides a reason for little technological advancement, but it also sets the stage for a
world without the Lord Ruler-- a world explored in the following novel, Alloy of Law,
and a world that will be continued in the planned future sequel trilogies (Rodes New
Mistborn novel,). Alloy of Law leads directly to the next facet. In the timeline of the
series, this novel takes place after the first trilogy and before the second. That being

Post 13

said, it is after the Lord Ruler is overcome and the world is returned to its somewhat
original state-- and a few years years in the future, comparatively with the last three
novels. This causes a direct leap from the first trilogys technological stasis to a total
development of technology both in tandem with magic and as well as for its own sake.
Not only does the novel include more modern technologies, but it also has what can only
be described as an American Western setting-- a fact many critics suggest pushes the
limits of fantasy (Rodes). Brandon Sandersons response to these allegations is highly
significant toward this exploration, "I've read a lot of fantasy and I love fantasy. So when
I find an area of fantasy that I don't think has been tapped or played out, I get really
excited because I see a place where I can add to the genre, rather than just retreading
the ground of the greats that came before me." This concept is significant because it
explains that just like technology can develop and change, as can literature and the
genre that confine it.
This essay has explored numerous aspects of how technology is both viewed and
used within High Fantasy literary works. Consequently, through the use of several
different novels, as well as critical sources, multiple implications and views arose
throughout the exploration.
Primarily was the astonishingly metaphysical viewpoint that this very
investigation is ethnocentric toward the literary worlds explored and discussed within it.
Using the definition of High Fantasy, this was established through the determination
that each world, decidedly separate from non-literary earth, was in a completely unique
universe. Therefore, it is reasonable to presume that the world and the cultures within it
would have developed its own systems of technology completely different from the

Post 14

readers. In saying this, one can see that this explorations base is in the assumption that
technology exists only as it is known on non-literary earth; thus the emergence of the
opinion that this exploration is ethnocentric (i.e. imposing principles of non-literary
traditional technology onto literary worlds which, completely separate in their own
right, could reasonably have a completely different system of technology).
The next view has less to do with debates over terminology and more to do with
the role of the author. Returning to what Brandon Sanderson said about adding to the
genre brings to light a pending collaboration of ideas, compiled over millennia to form
the structure of what is now called High Fantasy. Not only that, but it opens the door for
a genre to seem less like a restriction or guideline, and more like a shared canvas upon
which an author contributes to to bring about constantly changing, modern concepts
and designs. This positively dynamic perspective becomes unique in regards to a
particular author's style in contrast with another, even as both may work toward
masterpieces in the same genre. However, just as there are authors who strive to change
and develop High Fantasy, some may even say evolve, there are just as many who write
within the same confines as stated earlier in this essay and call the mavericks out as
magical realists.
In conclusion, tensions between authors, critics, and readers of High Fantasy
seem to be primarily caused by the issue of technology and its development. As explored
in this paper, authors tend to treat technology in essentially three ways. However, in
light of the fundamental creativity required for writing, there are quite a few radicals
who challenge these methods-- both by overlapping/combination and disregarding
them completely. Ultimately, then, the only assurance able to be provided as to what is

Post 15

and what is not High Fantasy must be self-assured and self-determined.

Post 16

Works Cited
"Dwarven Weapons and Armour." The One Wiki to Rule Them All. Wikia, n.d. Web. 13
Oct. 2013. <http://lotr.wikia.com/wiki/Dwarven_Weapons_and_Armour>.
"Fabrial." Stormlight Archive Wiki. N.p., n.d. Web. 20 Sept. 2013.
<http://stormlightarchive.wikia.com/wiki/Fabrial>.
Pierce, Tamora. Terrier. New York: Random House Children's Books, 2006. Print.
Rode, Rebecca. "New 'mistborn' Novel Pushes Limits of Fantasy." Deseret News (2011):
n. pag. ProQuest Newsstand. Web. 13 Oct. 2013.
<http://search.proquest.com.proxy.lib.umich.edu/docview/904947527?accounti
d=14667>.
Rothfuss, Patrick. The Name of the Wind. New York: DAW Books, 2007. Print.
Rothfuss, Patrick. The Wise Man's Fear. New York: DAW Books ;, 2011. Print.
Sanderson, Brandon. The Hero of Ages. New York: TOR Books, 2008. Print.
"Sygaldry." Kingkiller Chronicle Wiki. Wikia, n.d. Web. 28 Jan. 2014.
<http://kkc.wikia.com/wiki/Sygaldry>.
Turco, Lewis. "Fiction." The book of literary terms: the genres of fiction, drama,
nonfiction, literary criticism, and scholarship. Hanover, NH: University Press of
New England, 1999. 61. Print.

Post 17

Bibliography
Pierce, Tamora. Bloodhound. New York: Random House, 2009. Print.
Pierce, Tamora. Mastiff. New York: Bluefire, an imprint of Random House Children's
Books, 2011. Print.
Sanderson, Brandon. Mistborn. New York: TOR Books, 2006. Print.
Sanderson, Brandon. The Alloy of Law. New York: TOR Books, 2011. Print.
Sanderson, Brandon. The Way of Kings. New York: TOR Books, 2010. Print.
Sanderson, Brandon. The Well of Ascension. New York: TOR Books, 20082007. Print.
"Soulcasting." Stormlight Archive Wiki. N.p., n.d. Web. 26 Jan. 2014.
<http://stormlightarchive.wikia.com/wiki/Soulcasting>.
"The One Wiki to Rule Them All." Wiki. N.p., n.d. Web. 13 Oct. 2013.
<http://lotr.wikia.com/wiki/Elven_Weapons_and_Armour>.
"Weapons." Tamora Pierce Wiki. N.p., n.d. Web. 12 Oct. 2013.
<http://tamorapierce.wikia.com/wiki/Category:Weapons>.
Weeks, Brent. The Black Prism. New York, N.Y.: Orbit, an imprint of Hatchette Book
Group, 2010. Print.
Weeks, Brent. The Blinding Knife. New York: Orbit, 2012. Print.
"What is High Fantasy?." High Fantasy Addict. Weebly, n.d. Web. 22 Aug. 2013.
<http://highfantasyaddict.weebly.com/what-is-high-fantasy.html>.