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In many works of modern fantasy, elves are a race of semi-divine humanoid beings. Fantasy elves differ in many ways from the traditional elves found in northern European folklore and Victorian era literature; although in particular, the álfar of Norse mythology has influenced the concept of elves in fantasy. Early pioneers in the genre such as Lord Dunsany in The King of Elfland's Daughter and Poul Anderson in The Broken Sword featured Norse style elves. However, the Elves (capitalized, since they are considered a nationality of sorts) found in the works of the twentieth-century philologist and fantasy writer J. R. R. Tolkien have formed the view of elves in modern fantasy like no other singular source.
Elves in Tolkiens legendarium
Elves in role-playing games
Elves in fantasy literature The Elves of Tolkien also inspired a rich literature on elves in fantasy. Tad Williams's Memory, Sorrow, and Thorn trilogy focuses heavily on a long-lived, fair-skinned, magical race known as the Sithi, which are described as elves in all but name. Christopher Paolini's Inheritance Trilogy also features elves of a Nordic persuasion. Wendy and Richard Pini's long-running comic books Elfquest attempts to avoid the usual Tolkienesque elven clichés by placing their elves in a setting inspired by Native American rather than European mythology. It later turns out that the elves are actually the descendants of a shape-shifting alien race rather than mythological beings. A deadly elven maiden adept with a crossbow, named Kore, is one of the four adventurers in the 2004 novel Gauntlet Dark Legacy - Book 1: Paths Of Evil, by Richard C. White, who based his story on the legendary video game/arcade game franchise. Arguably the most "popular" elf of recent fantasy literature is Drizzt Do'Urden, the Drow Elf hero of R. A. Salvatore's acclaimed D&D/Forgotten Realms-based fantasy novels. Countering the Tolkien tradition Conversely, elves of the Tolkien mold have become standardized staple characters of modern fantasy to such an extent that breaking the norms for how an elf is supposed to be and behave has become an end in itself. An early example of this would possibly be the Krynnish elves of the Dragonlance series. Although superficially similar to Tolkien's elves, these elves were much more morally ambiguous and less consistently sympathetic, and were prone to blaming humans for any calamities which occurred in the world, as well as engaging in periodic bouts of genocidal conflict. The parodical Discworld novels by Terry Pratchett feature extradimensional creatures called elves, that go back to the old myths of cradle-robbing fairies. The Discworld elves have no imagination or real emotions, and therefore such things as children, artists and musicians fascinate them. They also have copper based blood and are extremely vulnerable to iron, and therefore use stone-headed elf-shot for their arrows. Though actually only vaguely humanoid in appearance, they bewitch humans with their "glamour", making themselves seem incomprably fair and godlike, and worthy of our worship. Eventually, they subdue us through sheer charisma, and only strength of mind and avoiding superstition (which they feed on) can keep them at bay. Elves in Pratchett's world represent the dangers of submitting oneself uncritically to the supernatural. The books Lords and Ladies and The Wee Free Men are about an encounter with "the fair folk". The Harry Potter book series by J. K. Rowling features house-elves that resemble brownies or goblins more than modern high fantasy elves. Rather like the elves (actually Heinzelmännchen) in The Shoemaker & the Elves, Rowling's house-elves are released from servitude when they are given clothes. Radiata Stories features beings called Light Elves which have an appearance more like a fairy or pixie than of a traditional elf. Elves in the best-selling Artemis Fowl series are portrayed quite differently from those in Tolkien's "Lord of the Rings". Being only about three feet in height, elves have pointed ears and are at least fifty years ahead of human technology. They have guns and are quite different from the normal fairy tale elf. They are intelligent and have a strong sense of what is right and what isn't. They love flying both in crafts and with mechanical wings. The main elves in the Artemis Fowl series are Captain Holly Short and Commander Julius Root. The webcomic character Elftor is neither very peaceful, nor very wise, nor very close to nature, and honestly looks most like a gnome. Still, he insists on being an elf. In Robert A. Heinlein's novel The Puppet Masters - hardcore science fiction - a race of methane-breathing elf-like beings inhabit Titan, the largest moon of Saturn. There elves are described as being a bit smaller than humans and having "a little rosebud mouth, which seems always smiling". They fall victim to terrifying slug-like parasites, capable of attaching themselves to any living being and completely controlling him, her or it. The parasites, riding on elves' shoulders, then try to do the same on Earth but are repulsed after much fighting, and at the end of the book humans head for Titan to settle accounts with the parasites and try to save the elves. In Mercedes Lackey's SERRAted edge universe elves are tied to humans. Neither race can live without the other, unlike Tolkien's aloof and separate elves. Also the elves in her universe work on and race cars professionally, not something usually seen in high fantasy. Elves on the Big Screen Crow the elf is arguably the most memorable character in the 1980 swords and sorcery film Hawk the Slayer, with his "rapid-fire/machine-gun-action" archery skills. In the 1986 fantasy film Legend, a young lad is aided in his quest to save a unicorn by a band of wood elves, most notably their leader, Honeythorn Gump. And as mentioned earlier in this article, Orlando Bloom portrayed a live-action version of the Elven prince, Legolas Greenleaf, in Peter Jackson's critically-acclaimed The Lord of the Rings trilogy of films. See also | ||||||||||||
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