Fantasy

The Stolen Throne (Dragon Age, Book 1) by David Gaider

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By David Gaider

The exciting prequel to Dragon Age: Origins, the hit role-playing online game from award-winning developer BioWare!

Dragon Age: The Stolen Throne

After his mom, the cherished insurgent Queen, is betrayed and murdered via her personal faithless lords, younger Maric turns into the chief of a insurgent military trying to loose his country from the keep watch over of a international tyrant.

His countrymen dwell in worry; his commanders reflect on him untested; and his basically allies are Loghain, a brash younger outlaw who kept his existence, and Rowan, the gorgeous warrior maiden promised to him considering that start. Surrounded by way of spies and traitors, Maric needs to have the opportunity not to purely live on yet in achieving his final future: Ferelden's freedom and the go back of his line to the stolen throne.

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Extra info for The Stolen Throne (Dragon Age, Book 1)

Example text

When John Clute planned his Encyclopedia of Fantasy in the mid1990s, he envisaged it as a smaller and more tightly focused volume than the recently updated The Encyclopedia of Science Fiction; it ended up as a sprawling leviathan almost twice as large as originally intended. The immense difficulty Clute and Grant had in setting boundaries to the project and in discovering an adequate descriptive terminology for comparative and taxonomic purposes provides a graphic illustration of the manner in which the historical and critical writings of the 1970s had created more problems than they had solved.

A heterocosmic creator cannot organize the informational thread of a text in the same way as can the creator of simulacra. The reader’s attention must be drawn to similarities and differences between the world within the text and the primary world. The heterocosmic creator must not only work hard to establish the relevance of some aspects of the readers’ preexistent stocks of knowledge into the text, but must work at least as hard to ensure that certain other aspects are definitively excluded. The heterocosmic creator must separate into two distinct parts the readers’ ready-made understanding of the way a world might work and must then compensate for the part ruled irrelevant by supplying a new understanding to take its place.

Tolkien’s lecture “On Fairy Tales” offers an unprecedentedly robust apologia for fantasy literature. 1939 Unknown provides a vital arena for the development of chimerical fantasy. Flann O’Brien’s At Swim-Two-Birds takes metafiction to new extremes. James Thurber’s “The Secret Life of Walter Mitty” provides a classic description of everyday escapism. World War II begins in September. 1940 Jorge Luis Borges, Adolfo Bioy Casares, and Silvina Ocampo compile a showcase anthology of international fantasy literature.

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