The most fabulous and compelling world building in fantasy

I read this book as a child and was immediately captivated by the rugged island nations and the rich cultural tapestry the inhabitants live within. The evocation of mist, mountains, remote shores, isolated villages, and their bleating goats form the backdrop to the story of Ged, the would-be wizard on his voyage to become a mage.

The self-discovery he faces at the wizard school (long before Hogwarts) when he unleashes a malevolent force through youthful ego and determination to prove his magic vitality leads him on a journey of self-discovery through the lands and within his own soul, pursued by the darkness he freed. It’s a rite of passage that culminates in him facing this shadow and what it truly is. The imagery is stark, and the haunting world-building is compelling. Perhaps it’s still my favorite fantasy to this day.

Thomas Covernant is a leper shunned by society but finds himself in the Land where some herald him as the one who’ll save them from an evil sorcerer, Lord Foul. He is not always a sympathetic character, but being on society’s edge where all and sundry openly shun him can do that to anyone.

What I loved the most was the captivating Land with its many peoples and inhabitants, such as the sentient woods and the Forestals that ward them, the Elohim, a benign people with special powers, the Giants and the evil Viles, Waynhim, and ur-viles.

Outside being exotic, the world feels credible and immersive, especially the “wild magic” Covernant begins to wield. I ended up caring passionately about what happened to the Land and wanting Covernant to acknowledge his worth.

I first read this as a teen, and honestly, I found it hard at first. It was sometimes a struggle to understand the intricate world-building and sheer scholarship Tolkien invested in this magnum opus. Like many, after watching the films, I decided to revisit the books and immediately found them to be accessible despite the intricacy.

In fact, the level of detail that went into Tolkien’s world-building is maybe rarely equaled in modern fantasy. Tolkien even invented languages for the tome, apparently termed glossopoeia, such as the Elvish languages Quenya and Sindarin. He also had a framework for the evil speech and the talk of men, dwarfs, and Ents. Whether you love or even hate it, the lore involved is so masterful it feels more like a ‘living’ fable than a made-up tale. 

This may be considered an odd choice on the surface, given the true events of the Trojan War. This was also another I initially struggled with. Nevertheless, despite the factual elements, it’s viewed as one of the earliest epic fantasies in Western literature, along with The Odyssey, which came after.

Centered on just a few days of the ten-year siege of Troy, the lives of humans and their gods are intricately linked. It is one of the earliest examples of pathos with much sympathy actually lying with the enemies, the Trojans, a people based in Asia Minor, and their allies from all over the region. Outside the gods, it also references monsters such as Bellerophon, the Gorgon, and centaurs, with the gods often used as a plot device to refract the emotions and flaws of the characters.

The world-building is vivid and rich in dactylic hexameter, a rhythmic style. It’s not easy to parse, but the imagery is vivid, the battles shockingly real, and the characters surprisingly modern in their failings.

This book, again by JRR Tolkien, was published in 1977, actually four years after its author’s death. It deals with Middle Earth long before The Hobbit and The Lord of the Rings, both set in the Third Age.

It concerns a foe, Melkor, who is infinitely more powerful than Sauron, the adversary in the later books. Tolkien himself summarises it better than anyone: "The Silmarillion is the history of the War of the Exiled Elves against the Enemy. Several tales of victory and tragedy are caught up in it; but it ends with catastrophe, and the passing of the Ancient World, the world of the long First Age." Tolkien’s son Christopher had to finish something that was not fully complete.

For some, it might be an effort to keep up with the intricate cultural and in-depth world building than anything we see in the Third Age, yet again the details are scholarly. Also, the sheer hopelessness of the allied struggle against Melkor mixed with compelling lore, a strong moralistic tale of corruption, and that ancient fable “feel” added a poignant quality that never left me.