Interview With Bujold Illustrator Art Work

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Ahad
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Interview With Bujold Illustrator Art Work

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Twenty years ago (or fifteen minutes ago; time is really just a relative feeling), when I sat down to write the first words for "Shadow of the King City," I had an idea of ​​what a book would have geographically, linguistically, and temporally. There is no concept of how big the span is, because just trying to write each "next chapter" to the end is a complete challenge. Of course, I never imagined that I would have to explain all this to readers far away in Taiwan, but I think that's what fate is. For the re-release of the "Legend of the Five Gods" series, I would like to thank all the translators and editors at Fantastic Base so that we can all meet through this giant leap. ——Excerpted from the exclusive preface written by the author Ms. Bujold for Taiwan readers "The Legend of the Five Gods" series author Lois. Momast. Bujold (Lois McMaster Bujold) has won the Nebula Award and Hugo Award for many times. "Shadow of the King City" is the first part of the "Five Gods" series. This fantasy novel is constructed under the belief of the five gods, and the world follows the gods and mortals. The will to move forward, kicked off by the thirty-five-year-old protagonist Kazari, unfolds an epic and epic story. ※There is no thunder in the interview, please read it with peace of mind. Q: Where did the inspiration for "Legend of the Five Gods" come from? A: This probably goes back to my writing career for the past two decades, but I'm not going to dwell on it here. Among the ideas that can be called inspirations, the earliest fragment that appeared was the aforementioned Spanish court history,

which was a certain history course I took a long time ago on a whim; the second was an indeterminate figure, a certain The Duchess's secretary was a character I came up with while playing the alphabet game with another writer friend, Patricia Wrede - so I put a character like that in that context and they just came to life on their own. Q: Why did you decide to make Kazari a middle-aged man of thirty-five years old? A middle-aged man with extensive experience, who has been a city lord, a city guard, and even a slave - how does making such a character the protagonist of the story affect your plot? A: I don't particularly "decide" how my characters will be represented in the plot. When I conceived the plot, they just appeared in my imagination as they were, and my description of them just followed the original imagination, or followed the plot to outline their changes, because the Illustrator Art Work
growth of the characters depends on what they take in the story. action. At most I'll just do some fine-tuning, because they're likely to show character traits that I didn't know about until later. Of course, Kazari's image does have some historical color: based on the story that takes place in the feudal society of the Middle Ages, and the European history of that period often appeared such a typical character - knowledgeable and knowledgeable, among the middle-level vassals, not out of The royal family, but as a side member of the royal family, leads and opens the door for communication with modern countries for the monarch. Such as Sir Worthingham of England (and his earlier Cardinal Wolsey), Cardinal Richelieu of France, Cardinal Cisneros of Spain, and the Queen's courtier of Scotland, David. Li Qiu, etc. are all characters that exist in historical facts; behind such characters, there are often more legendary and imaginative fantasy stories, which are no less dazzling than young princes and princesses. For fantasy writers, young characters are especially helpful in presenting the worldview of the story, as readers can explore new things in the fictional setting with their innocence and curiosity. However, older characters can have more intriguing minds, more complex ideas - since I write this story from a position that is close to the third person,

I am aware of everything through the knowledge and insights of the characters themselves, Not taking the author's unique perspective of God, which gives me more leeway in "retelling the story." As for Kazari's prisoner of war experience, his inspiration also roughly came from the personal experience of the Spanish writer Cervantes (Annotation: author of the novel "Don Quixote" ). Q: The five gods belief system you set assigns the gender roles of father, mother, child, and woman according to the attributes of the four seasons. How did you come up with it? In the book, the saint Wu Mijia said to Kazari, "The God of Calamity is the weakest of the five gods, but he shoulders the task of checks and balances." Why did you set this up? A: There are many factors in this. First of all, I don't want to introduce duality and turn the world and suffering into a logic of black and white, good and evil. In fiction, oversimplified logic is a dangerous mistake, and it is also true in our real life. The design of the Holy Spirit family can avoid this result, and it is not easy to be limited by the established class division. (Of course, since humans are so fascinated by class divisions and oversimplified thinking, we also have a four-god belief for comfort.)
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