Tech in High Fantasy: an

Oxymoron or an
Expansion into Realism?

Lord of the Rings. wind1own (2008). Mixed media.

The epitome of high fantasy is The Lord of the Rings by J.R.R. Tolkien. It has
humans (of course), elves, orcs, dwarves, purely original creatures, dragons,
and magic. Its set in a fairly medieval and feudal landscapewhich means it
also doesnt have that many prime examples of technological growth. Lack of
tech is a common element in many high fantasy novels. But is it a necessary
element?
This question has plagued me over the years as Ive developed my love for
the genre. Initially, low-tech doesnt seem like the biggest aspect of what

makes high fantasy a superb genre (to me), but it does seem to be, in part,
what makes high fantasy high.
Also, in a lot of cases high fantasy novels are epics, meaning the story spans
over a long series of novels. This can cover a huge expanse of in-world time.
Depending on how huge the temporal expanse, it wouldnt necessarily make
sense for the world in question to have remained in stasis at the same level
of low-tech.
This paradoxical situation can provoke a tension between the text and the
reader that has potential to take away from the story. If the reader becomes
preoccupied with the technical plot holes then theyre less likely to develop
an appreciation for the story and its genre. This disconnect seems to be
particularly relevant in our current tech-obsessed generation. In real life
the most popular interesting things are new forms of technologies. Another
question to consider, then, is how can creators work to help high fantasy
retain some relevance in our very digital age?
Prominent authors are already doing more to incorporate technology into the
genre. One technique is to combine technology with the worlds system of
magic. This can look like fabrials in Brandon Sandersons Stormlight Archive
or architecture in Brent Weekss Lightbringer Series. If you arent familiar
with these examples, allow me to briefly explain. Basically, this combination
works as a technological object or system either produced via magic or a
function explained using magic (as opposed to more empirical, scientific
means).
Another technique is authors devising their story so as to explain why there
is little to no technological advancement over a period of time. In Brandon
Sandersons Mistborn Trilogy, he uses the tyrannical Lord Ruler to explain the
stagnation.
A final technique Ive come across, though Im sure there are others, is to
just forgo tradition and include technology outright. This is definitely the
most provocative of techniques. What I mean by this, the inclusion of
technology for its own sake, separate from any magical system (as in the
first example). An extreme example of this would be, again, in Brent Weekss
Lightbringer Series. Within the series, Weeks mentions guns.
The firearm specifically has had a long history of being considered taboo
within the genre. This can be both because in a traditional sense it is outside
the established technology of the medieval period. However, it also often
clashes with the ethical good vs evil nature of high fantasy. Guns have a
connotation to be just as dangerous in the hands of someone who doesnt
know how to use them as someone who doesa connotation not always
applied to, say, swordplay or knives.

An Attempt to Define the

Term
High fantasy is becoming a bit of a tricky sub-genre to define. The blog High
Fantasy Addict tries to explore the genres definition while acknowledging
its easy to be too specific or too vague. Personally, I think its best to break
it down and give it a bit of context.
For an umbrella term of this type of fiction, think Speculative. Speculative
fiction is in direct opposition to Realistic fiction. The latter is derivative of
every day realities, whereas the prior would generally include your fantasy,
science fiction, and horrorthings based in imagination. Then there are more
sub-genres. Fantasy breaks down into low, high, heroic, sword and sorcery,
and the list can keep going on for a while (seemingly redundantly). For the
purpose of this exploration lets look briefly at low vs. high fantasy.
Low fantasy is commonly
overlapped with magical realism.
For a basis of understanding, a
popular example is Harry Potter
by J.K. Rowling. The Harry Potter
novels are set in modern United
Kingdom, as opposed to The
Lord of the Rings which is set in
a completely fictional reality.
This is the most important
difference between low and high
fantasy and establishes the
backbone that holds the
elements of high fantasy
together. High fantasy has the
setting of an imaginary world,
magic, and epic themes.
bad boys. Taris (2013). Digital Drawing.
Traditionally, it can also include
non-human races, mythical creatures, and low-level to no what-we-wouldthink-of-as tech.

Suspension of Disbelief

The latter non-tech world becomes problematic because it often leads to

medieval stasis. This is when a great amount of time is supposed to have
passed in the story, but theres been no common sense advances to go
along with it. Basically, it would be like living in the Medieval era, fastforwarding a thousand years, and never having the advancements that came
through the Renaissance, Enlightenment, and Industrial periods. Then again,
it is fictionso whats the issue? Some readers are just fine with the level of
suspension of disbelief required to read these kinds of storiesafter all, if it
already has dragons and magic, whats a bit of technological stagnation? But
for many readers, its a pretty big off-putting factor for the genre. Its just too
unbelievable.
That is to say, high fantasy arouses certain expectations of the fantastical
and otherworldly nature, but technology doesnt need to be an anachronism
at every instance. Through certain techniques, authors can (and have)
include(d) technology fluidly within the world building of the story.

Exploring Through Vignettes

As a high fantasy enthusiast and a would-be writer, Ive become determined
to make the genre more accessible and keep it relevant in our increasingly
tech crazed world. For that reason, Ive written a small series of vignettes to
show how authors might incorporate tech into high fantasywhile keeping it
high fantasy. As Ive already mentioned, high fantasy is a pretty hard genre
to define without becoming too exclusive. My hope is to expand the
definition while keeping the key elements I listed: imaginary world, magic,
and epic themes.
For a bit of background, the following vignettes take place in a world of my
creation. Its split into roughly 6 regions/nations, each with its own spiritual
power (the magic system). The first vignette is more of a description of a
locale, whereas the final two are centralized to a character.
Now, to begin, authors of high fantasy have already developed several ways
to address this issue, they just arent very wide-spread. That being said, the
most common method Ive come across is the combination of tech with the
worlds magical system.

Dearest World Traveler,

At the Rivers East End, begins the sprawling urban capital of Natuiae,
Sehlen. Its more commonly referred to as Dancing City because of the

flighty Siofra who have made their home there over millennia. To describe a
Siofra is to weep for trying, so allow me to weep. They are a race of winged
nymphs, small in statureabout the size of one of the stout Montinbut
slender, and fragile in appearance. For all of that, even if one could find it in
themselves to enact harm against one of these lofty creatures, they would
not be in for easy time.
The Siofra are quite possibly the most magical beings in the known
world. Their ability rests in being able to affect the nature of things. To
explain, it would be best to present a scenario:
Imagine yourself a visitor to Sehlen, The Dancing City of Natuiae.
Assumably, you arrive by foot via the road from East End. The outer city is
nearly indistinguishable from its surroundings. So, youre walking into the
city and you come across plants of varying types and sizes. One to your left
is a bright patch of red and yellow Dianthusyou think. The form would
suggest that, but the oozing honey from their centers and the strong scent
of chrysanthemum would suggest otherwise. As you approach to investigate,
you see that the flowers are actually daffodils! But still red and oozing, and
smelling of chrysanthemums. Feeling a bit bewildered, you start to lean
down toward the now miscellaneous plant. However, as you reach out to
touch it, a beautiful voice is heard through lips appearing in the mouth of the
flower.
Remove yourself from my property at once, trespassing fiend! At the
end of her sentence, a tongue quick as fire extends out and licks your cheek,
followed quickly by the mouths replacement with a winking eye. Naturally,
you jump back, and go to move on your way.
This encounter is typical for an outsider in Natuiae, but most especially
within the borders of Sehlen. Given the nature of their magic, Siofra are
allowed total autonomy in the borders of their own property for how they are
able to affect a visitors perceptions of their surroundings. Outside of their
own property, in the public areas of Sehlen, Siofra are slightly more
restricted in their conduct, but not by much. In a public space, a Siofra may
only affect the perceptions of another being in regard to how that particular
Siofra is experienced by that person. For the most part, this creates a
relatively safe environment for visitors. Though tricksy Siofra have been
known to find loopholes in this law in the past, so be on your guard!
The center city is, for the most part, above land. This part is a bit
difficult to explain. There are some common buildings of sorts on land, for
the more mundane visitor, but Siofra residents prefer to take to the sky.
Visitors are of course more than welcome to join them! Within the center
city, a public act was enacted for the enfranchisement of visitors. This means

that gravity here is based on perception. You dont need to be winged to fly
in Sehlen! Surprisingly egalitarian of them.
This gravitational advancement is only one of many wonders that
Sehlen can bring you. Not only does it affect your ability of flight, but how do
you think buildings get up there? Truthfully, if you were to reject the lawfully
imposed perceptions and look up, you likely wouldnt see anything. That
being said, whos to say that anything you experience in Sehlen is what you
perceive? This type of magic can quickly become malevolent in the wrong
hands. For instance, a new medicine derived from various world herbs has
been circulating throughout Ignis and Caligo and is said to mimic the effects
of Siofra magic on the brain.
On second thought, maybe its best to leave the Siofra to their own
devices, so that they dont devise something out of you.
Best of journeys!
-Felix Thundertops

Conceptually, this vignette was a travel leaflet by the famed explorer Felix
Thundertops. The technology I was insinuating in combination with Siofra
magic was anti-gravity. Its almost too farfetched of a concept for a high
fantasy story, but when combined with magic the technology becomes more
relevant to its surroundings.
The next method will require us to venture a little farther back into the
history of the world I introduced in the first vignette. This will be to establish
a background in which a ruler is purposefully hindering, or sometimes
actively dismantling, tech development. Authors might use this method to
explain why there is little tech development over a great period of time.
The sun was beginning to set behind the mountains, casting a soft
purple hue over the mountain city of Aeyr. Gray clouds were
approaching from the east, soft snow falling in the distance. Agostin
stood staring outside his tower window as the shadows began to
creep over the city. The last of the farm carts were being pulled
through the sanctuary gates, another market day come and gone.
Artisans and mechanists selling their newfangled knick-knacks and
trinkets. Theres no tradition anymore. He raised his hand to summon
the attendant over.
Priori Sanctis. The girl came from the corner and addressed
Agostin, formally, eyes lowered.

Henceforth, market shall be held outside of the gates. The profanity

is meddling.
The girl bowed and scurried off to alert a magistrate. How tiresome.
So many needless processes to ensure order in this time. Something
must be done about the troublesome Dhurn in the west, as well. They
are growing too fast, too powerful. Agostin had heard one of his
magistrates saying the other day that they even had the nerve to
establish a commune of temples, Because the Temple City of the
Aeris Sanctin is too far removed. Removal is precisely the key to
sacrality! Dhurn. Such a mutt civilization. If it can even be considered
one, living in caves and changing into beasts. Positively barbaric.
They sully their spirituality with their profane modern constructs.
Agostin turned his attention from the exterior to his holy chambers.
The girl had reentered, a magistrate following close behind.
This most recent exertion of yours is most inconsiderate of our
current situation! The magistrate flew into the room, irate. Was that
Victus? They all look the same, really. White robes, purple trim.
Seemed like a good idea at the time. What was the girls name?
Likely just another daughter of the Sanctin nobility, maybe Elata or
Elita. One of those is surely in fashion, lofty as they are. Well? What
have you to say? Victus continued, There are uprisings against us
springing up all over the realms, central to them being Dhurn. How
can you expect to be taken seriously as Priori Sanctis if you dont?
With a slight wave of his hand, Agostin sent Victus hard against the
panel next to the window. We are the Priori Sanctis. Not your priest,
not your king. We are chosen. He looked up at Victus as he spoke
the last part, daring him to challenge his word. Agostin loosely closed
his fist, causing a sharp gasp of breath to release from Victus as he
clawed at his own throat, and then released it, allowing Victus to fall
to the floor coughing. Agostin took this time to glance at the waiting
girl, pleased to note no significant reaction. However, he soon grew
tired of this show of power. So many shows. At his signal one of the
Divine Warriors in the chamber went to secure the magistrate.
Agostin waved them out. Return him to his chambers for the night.
As they began to depart he called for them to stop, hesitating. Do
not presume to understand Our divine duty. You will have promise in
your time.
The guard nudged Victus to respond. Thank you, Priori Sancits.

Another warrior filed in to fill the space of the previous guard, and
closed the door behind him. Agostin let out a soft sigh, though if the
strain of the day showed on him, all those present were steadfast in
their silence. He signaled the girl to prepare his bath, and she went
off, he assumed, to boil the water. Of course, it would be convenient
to have pipes carry the water directly to his wash room. But what
convenience. Extravagance is one thing. A Sanctin of his position is
entitled to a certain amount of comfort and luxury. Convenience,
however, is the highest sin of the modern realms. Tradition must be
the laurels on which we carry ourselves. The ideas of convenience
trigger a dangerous attitude of free inquiry which in turn triggers
these uprising. How do those lesser beings fail to comprehend the
severity of their social disruption?
I must admit, Agostins character is a bit of an homage to Sandersons
perfect Lord Ruler from Mistborn. However, I tried to create a distinctive
personality to keep a bit originality. Agostin is severely at odds with the way
civilization is moving toward technological progress around him. He thinks it
takes away from the spiritual nature he wants to see thrive in societyunder
his rule as Priori Sanctis, of course. Given the limited form of a vignette, it
was difficult to express Agostins intent toward suppressing the technological
advancement without coming off too forthright and taking away from the
flow of the vignette.
For the final vignette, I have tried to express how an author might just
blatantly show technological advancement. This is very uncommon in high
fantasy, because it could get to a point for a lot of readers where it starts to
become too science fiction-y. A sticky issue for the easily combined
branches of speculative fiction. This vignette takes place in time after the
first two vignettes.
She woke to the sound of footsteps echoing through the cavern. Was it
that time already? Ariadne sleepily blinked her eyes open, feeling drool drip
down the pillow of her arm. She rubbed her face, one side considerably
redder and warmer than the other.
Did you honestly forget? Again? I knew youd be here. Alan
unceremoniously invaded her hideout, bringing with him all of the fears and
anxieties she had tried to leave outside.
You could knock, you know. Ariadne sat up and stretched. A blush
formed on Alans cheeks as the blanket began to slide down Ariadne's body.
Ariadne. Im sorry but-

She let the blanket fall. Let me cut you off right there. For one thing,
you arent actually sorry if you follow your apology with a but, and for
another youve been waiting for this day since we were 5. She stood,
throwing on her wraps, and walked decisively past Alan toward the mouth of
the cave. You all were.
Warm rays pressed against her as she stepped out into the light of
high noon. Ariadne breathed deeply of the musky aroma of Se'Elahn. Home.
If the elders had their way it'd be years until she'd be able to return. There
were four keys off the southern coast of Caligo on which her people had
been forced to make their home, but to Ariadne the mountains of Se'Elahn
had always felt more like home than the mainland. Then again, the purges
that forced them here were before her timeand the Sanctin a stronger
force than ever.
Alan trounced out after her with indignation. You are the first Dhurn to
be born with the gifts of our heritage in-
A century. I know. I get it. Ariadne interrupted him again, beginning
on the path back to town.
Alan wasnt having it. No. I dont think you do, he paused and shook
his head, following close behind, Havent you listened to any of Gervais
stories? It was genocide, Aria. You should be proud to have the power,
relieved even, that its still a possibility.
She sighed, and pulled her back into a ponytail. Yeah, I have. Dont
you think that might be part of the issue, here? Ariadne stopped suddenly,
her hand on Alans arm. The Priori Sanctis has eyes and ears everywhere.
Were practically isolated here, and even with my grans care he still found
out about me. Why does he want me in Aeris?
His tone softened a bit. Its only right that Dhurn regains its rightful
space in Temple City, with you as our High Priestess. Its your birthright.
Alan ended with an earnest smile. A few strands of Ariadnes hair had freed
themselves from their tie, falling in her face. But as Alan reached up to tuck
them behind her ear, she pulled away, continuing the walk back to town in
silence.
SeDysthus was a fraction the size of the capital, but it wasnt any sort
of one horse town, either. A clock tower stood tall in the center of town
between the council house and the new library. It was an emblem of the new
age, made of metals from Ignis and Eluviesshipped to towns like Ariadnes
all over the keys, straight from Aeyr itself. At least, they said this was the
new age; one of prosperity and peace. But its all a farce, isnt it? Gervai
had told Ariadne and his other students of the way the past Priori had stifled

progress. Why should this one be any different? If anything, ever since the
Council of Regions was established on Quint (Dhurn excluded), the Sanctin
have become worse.
Ariadne stared at the new clock tower, a grimace spreading through
her features. The Priori speaks of a new age. He speaks like weve ever
actually heard him. Or seen him. She turned to Alan. What am I walking
into?
He sighed and ran his hands through his hair. I suppose youll find out
soon enough. Alan pulled out his pocket watch and noted the time. About 4
more hours if I have this thing set right.

Technological inclusion is never central to a high fantasy story. This is a little

abrupt, and not to mention somewhat converse to what Ive been trying to
argue in this article, but its worth saying so as to better explain my choices
within the previous vignette. If a story is about technology, then it is far more
likely to be closer to science fiction than high fantasy. That being said,
usually when an author chooses to include bits of tech in a story they are
brief mentions scattered across chapterseven novels. For that reason,
much of the previous vignette is focused on topics unrelated to the
advancement of this exploration, with tech only a brief mention in the form
of infrastructure and a watch.

The Size of Stories

All of the published examples of high fantasy Ive mentioned take place in at
the very least a novel, but most are parts of series of novels. This makes it
substantially easier for an author to stretch out mentions of technology so
that they arent too distracting in any one part of the story. Trying to do the
same thing in a vignette isnt necessarily as effective. Though I managed to
exemplify what I mean in each section as far as the technological
inclusion/exclusion and how it relates to this article, it seems a bit of a
stretch to consider the vignettes themselves as separately successful works
of fiction.
I do think its important though, however stretching they might be, that
explorations like this occur within the literary world. Whether they focus on
expanding the boundaries of high fantasy specifically or other genres as well.
Like a story, the qualifiers that confine it need to be able to grow into new
forms. Thats what writing is. Its dynamic expansion of ideas and forms into
fresh experiences.

By continuing to push the boundaries, writers and their works will be able to
retain relevance in the equally dynamic world. Im not saying its necessary
for everyone to dosome people like to escape to a little safe static once in
a while, and thats perfectly fine. But there will always be writers and readers
yearning for that new take on an old classic.