14
"
mar:y are
didactic
undertone,
dealing
ethical problems (technology: for
hillllil.ll good 01' c!estructiou)
(http://v.rwv;.soulh,emct.ec!ul-brovro-'"1:lf300su 13.htm1)
2.2.3.
Laws
In
fa11rtasy,
anything
is
po:!Sltlle.
If
absolately anyihing
is
possible, then
the
hero
cau
sh11rply
wave
his
haad in
air
at ilie
appropriate
moment turn
aE his
enemies
would
be furilllsy,
right,
but it would
not be good fantasy. A good
fantasy
while ncluding
at
one
or
two
outright
impossibilities, sets
down
for
itself
and
abides
It
has
to
it,
ilim::g.IJ.
not
:1ecessarily exactly
the
logic
we
"ilse
oar
own
everyday
lives.
If a
story
dc;es not
internal
and
consistency, it is
not
any
to
read.
\\lhere
evecyihing
is
possible,
everything
is
boring,
because
the
reader kuows
that
the
hero
can
always
just
tuzn
any sort
interest
or saspense
when anything
can ha;Jpen.
According to Evans (2000), fantasy
has
its own rules,
and most
of
the basic
poh"lts are:
First: Stories are about
people
A
good
story
is
a
good
story,
and
f1e
raob!ing bunch
of
events
is
not
a
story. A
does
not
ch(mg;e
that;
a
pointless,
not
jast
it
is events
that affect
someone.
Stclric's
arc
people.
people
ourselves,
we
are
just
fascinated with
people.
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