as a platoon of bathing beauty Cataphracts or the dread and dreaded Playboy Bunny Brute Squad.
All medieval and classic cultures of the ancient world, including those on which Tolkien modeled his elves, routinely exposed their young and marriageable women to the fortunes of war, because bearing and raising the next generation of warriors is not needed for equality-loving elves.
Equality-loving elves. Who are monarchists. With a class system. Of ranks.
Battles are more fun when attractive young women are dismembered and desecrated by goblins!
I believe that this is one point where C.S. Lewis, J.R.R. Tolkien, and all Christian fantasy writers from before World War Two were completely agreed upon, and it is a point necessary in order correctly to capture the mood and tone and nuance of the medieval romances or Norse sagas such writers were straining their every artistic nerve and sinew to create.
So, wait, we have an ancient and ageless society of elves where the virgin maidens go off to war, but these same virgin maidens must abide by the decision of their father or liege lord for permission to marry?
At that point, another blow of the Stupidity Hammer descended, when we see Gandalf, all by his lonesome self, wandering into the stronghold of Dol Guldur.
In the book the stronghold of Dol Guldur was, you know, a
stronghold
. Hence the name. That means it was a fortress, filled with soldiers of the dread sorcerer known only as the Necromancer. In the book, while the scene is not onstage, the hints dropped imply that Gandalf and his brother wizards of the White Council put forth their strength and assailed Dol Guldur and drove Sauron forth. “Assailed” means they besieged the place, which means they parked an army in a circle around the tower, battered the walls, used catapults and trebuchets and battering rams to crack the gates: you get the picture.
Instead, in the movie, Gandalf waltzes in, tells Radagast not to waltz in, gets mugged by orcs, and then Sauron shows up as a huge black special effect and telekinetically pins the old man up against a wall — and does not kill him.
Okay. Time for another lesson in storytelling: This is a lesson, which, unlike the others, only modern fantasy writers know, and which not all children or all women fans of romance know. This is because in the old days wizards were never the main characters; they were either wise councilors and prophets like Merlin, or they were antagonists whose curse or enchantment was the main obstacle to be overcome.
But when the wizard is onstage as the main character, you have to adopt what I call the Jack Vance Rule. I call it this because Jack Vance is the first author successfully and adroitly to have applied this rule in his
The Dying Earth
. The Jack Vance Rule is: (1) The wizard has to be able to do something unusual, or else he is not a wizard, (2) he cannot do everything, or else there is no drama; therefore (3) the story teller has to communicate to the reader whatever the dividing line is that separates what the wizard can do from what he cannot do, so that the reader can have a reasonable expectation of knowing what the wizard can and cannot do.
In
The Dying Earth
, the rule established that wizards could only force into their three-dimensional brains the ultradimensional and reality-warping syllables of at most three to seven spells a day, which, once they were spoken, evaporated from the wizard’s brain like a dream at waking, their force expended, unable to be spoken again. Sound familiar? It is such a simple and clear and elegant rule for how to limit magic that Gary Gygax used it in his Dungeons and Dragons game, which then outstripped Vance in fame, so that modern readers often find Vance disappointingly similar to a D&D game.
Any rule will do. In
Green Lantern
comics, the magic ring can do anything as long as it is green, and it is helpless against the color yellow.
In the book, Gandalf does not need his rules defined because he is