This is THE classic sword and sorcery tale that came about in the early 1960s. Note that I am referencing when Elric first appeared which was in Moorcock’s novella, "The Dreaming City" (Science Fantasy #47, June 1961 (Wiki).Note that this is one of my early reviews so the format is different. CONCEPT: Very interesting. This one was done in the 60s before there were a lot of Sci fi/Fantasy writers. Moorcock is definitely one of the older writers and his works range in quality though fortunately this one is quite evocative of the genre.MARKETING APPEAL: This story came about in the 60s, I believe, when pulp sci fi magazines were a big thing; I doubt it made a lot of money at first but it became a cult classic. Elric appealed to readers b/c: (1) Unlike Tolkien, it dealt with grayish characters; no big struggle between good and evil; more of protagonist vs. Antagonists; (2) it dealt in an unknown world where there were lots of cool planar areas; (3) Elric was somewhere between good and evil; and (4) the swords and context of the storyline were actually quite well done.SCORING: Superb (A), Excellent (A-), Very good (B+), Good (B) Fairly Good (B-) Above Average (C+), Mediocre (C ), Barely Passable (C-) Pretty Bad (D+), Dismal (D), Waste of Time (D-), Into the Trash (F)DIALOGUE: B+ STRUCTURE: A- HISTORY SETTING: B+ CHARACTERS: A- EVIL SETUP/ANTAGONISTS: B+ EMOTIONAL IMPACT: B; SURPRISES: B+ MONSTERS: A PACING: A- THE LITTLE THINGS: A OVERALL STYLE: A- FLOW OF WORDS: B+ CHOICE OF FOCUS: A- TRANSITIONS/FLASHBACKS/POV: B COMPLEXITY OF WORDS/SYMBOLISM/THEMES: A- OVERALL GRADE: B plus to A- DIALOGUE: Dialogue was pretty good. Sometimes it would get formal but in other times it would relax a bit. Overall though, it didn’t get too contemporary as some authors are very guilty of doing. I hate it when slang or sayings from our times are used if it's supposed to be a totally different world.PACING: The book is sparse to begin with; only 160 pages but it moves fast. I think the pacing is great. Of course, the pacing is so good b/c Moorcock doesn’t give us a lot of details. Everything is so succinct that I wonder if he ever wrote screenplays. Sometimes though; I’d like more details.Have to be fair here in comparison to authors who have meatier texts; 160 pages; it’s easier to move fast compared to 900 pages as the typical epic fantasy. And when Moorcock was writing it was for magazines with limited space so I'm not going to dock his grade for it.OVERALL STRUCTURE: First half is Elric dealing with his evil cousin and trying to deal with Melnibonean attitudes which disturb him. The latter half is rescuing Cymoril (the love of his life) from Yrkoon and acquiring the long lost soul blades. For the most part, I didn't have any problem with the story structure of this series. It was a pleasurable read and while it wasn't great (Zelazny) nor superb (GRRM) it did fall between good and very good. Rousing dark swords and sorcery.COMMENTS: Apparently, Moorcock was never big on Tolkien so he took the opposite approach in his works; far darker; less details; more gore; not as happy. What follows are spoilers and is intended for people reading this who don't remember the novel too well and wish to go down memory lane. (view spoiler)[*** SPOILERS ***SYNOPSIS: Elric of Melnibone is Emperor of an island kingdom of sophisticated people whose culture is decaying. While he prefers to think of higher matters, his cousin, Yrkoon, has designs to seize the throne.So when a fleet from the Young Kingdoms attacks Dragon Isle, Elric calls forth his army and his fleet to ambush the barbarian fleet. After they drive the enemy away Elric only wishes to go back, but Yrkoon angers him by suggesting he is a coward. So, with a heavy heart, he agrees and they go off to sink the enemy fleet.But during that raid, Yrkoon betrays Elric, when he is wounded, and sends him overboard in full armor. Looks like the end for Elric BUT . . .t. . . he calls upon the Lord of the Water Elementals. Using magic almost forgotten by his people, the Lord of the Water Elementals assists him, returning him to the shore.Yrkoon is removed from his short time on the throne, forced to eat the flesh of one of his soldiers and is then watched. But, even when things seem to get better, Yrkoon betrays them, steals Cymoril and escapes. Elric uses magic to try and trace him but it doesn’t work. He sends out scouts and even considers using the dragons (slumbering powerful beings) but all to no avail.Finally, he calls upon one of the Lords of Chaos, Arioch, a young smiling blonde haired man, who agrees to help Elric in return for his services. Elric agrees. He then calls upon the Lord of the Water Elementals and is given a ship that travels over land and water.Elric and his Captain of the Guard, as well as some troops, locate Yrkoon in one of the Young Kingdoms and set out. After having a problem with the Lord of the Earth Elementals (who is brother to the other Lord and who believes the ship belongs to him), Elric is told his ship will no longer work on land. So, Elric and his soldiers go on foot and finally reach the town in secrecy. It’s also discovered that Yrkoon has the Mirror of Memory (which traps the memory of any who look at it) set up above the city. No wonder no one remembers coming to this town.A big fight ensues. Elric cleverly blindfolds his men so that they aren’t affected but the rest of the soldiers are affected (Yrkoon turned the mirror on the town). Yrkoon then escapes to another world; Elric follows and comes across a red priest who has been trapped there for a long time. After a fight in town, they enter a cave, go through a womb and find the two magical swords (taken away a long time ago but once belonging to Elric’s people; STORMBRINGER and MOURNBLADE). Yrkoon and Elric duel; Elric wins in the end but his sword demands the blood of his cousin.Elric controls the sword and for now, conquers the blade but it will be an ongoing battle for his soul and already tainted morality. (hide spoiler)]
As a self-professed Tolkien separatist, Michael Moorcock never appealed to me. Because so, I was rather sceptical (perhaps even pessimistic) about Elric of Melniboné. At a young age, I was obsessed with Middle-Earth's vast legendarium, and I thought his works to be impeachable. I know now that they aren't and yet, that still doesn't change my reverence toward Tolkien and his works. With Moorcock however, I learned not to be too haste in judging the man behind the work. Though I found his Epic Pooh to be more of an infantile dissension than a serious critical analysis, I could not deny the majesty in Elric of Melnibone. His subversive, anti-macho, twisty, strange, briskly-paced Elric of Melnibone is both an effective, original piece of literature and a strong response to the legacy of cheesy male dominance in fantasy ignited by Robert E. Howard's Conan.I've always enjoyed the concept of high fantasy. Authors creating a new world entirely, adorning it with strange ideas and weird concepts. However, it's too common that these vast subcreations lack purpose behind them. The Eternal Champion is a story that consists of many planes that cannot be quantified. In the immensity of these innumerable planes there is one form of union, the balance of Law and Chaos. The constant instability of this equilibrium is exhibited by Elric, whose ambiguity make him both unpredictable and volatile in his acts. Law and Chaos is Michael Moorcock's philosophy, and one of the incentives in his subcreation (aside his intended anti-Conan protagonist). His world, though one of his mind's invention, is also a creation of a clear humanistic belief.Physically, the novel is a simple fantastic adventure tale. Usurpation, doomed love, revenge and justice are a few familiar tropes that mould the story; however, his story centres around an uncommonly frail protagonist who must frequently consume potions to maintain his strength. The idea of masculinity in works of fantastic fiction was popular before Conan, a notable figure being Edgar Rice Burroughs' John Carter. The idea of a protagonist in a work of fantastic literature being crippled by a natural affliction is unorthodox but a concept I find way more effective. The story is more unpredictable and the capriciousness of dire situations are more enthralling.And though Michael Moorcock has stated he was highly inspired by Norse mythology, his works (unlike Anderson or Tolkien) are completely devoid of strange ilks like Elves, Dwarves, or the Jotun. Elric, the protagonist is Melnibonéan, a species that do not consider themselves human and not without reason either. As religion and thoughtless belief conquers the young kingdoms, Melniboné is still a patron to sorcery and subject to an archaic tradition of celebrated brutality and unhinged barbarism.The idea of out with the old and in with the new fuels a gradually accumulating conflict, or some sort of dynamic change in Moorcock's subcreation. The capricious Elric is mostly aware of this. His lenient demeanour, is a detriment to his people's customs but to the advantage of the growing world around him. His contrariness, represents the growing dissension between Melniboné and The Young Kingdoms, but can also be juxtaposed to growing and dying nations throughout history. Unfortunately, the common belief in epic novels is that they're all fat books. A Clash of Kings is one example. Throughout the novel, there is a clear underlying anticipation to a battle between two self-professed kings, however little happens in building to that event. Elric of Melniboné, a story less than two tenths of A Clash of King's size, has all ready more of a story and has multiple battle sequences which were just as compelling, and fateful than Blackwater.Michael Moorcock also seems to have restraint in his writing. He depicts death and violence, but without being too graphic or mollycoddling. Not at all did he let his own libido manipulate his pen, nor allow personal gratuity plague his prose. Sex in Elric of Melniboné was low-key and caressing, refreshing and definitely not pointless. The ideas of Elric have been borrowed by many works (games and literature alike), but aside the concepts, authors of fantastic fiction should be taking notes on the many aspects that make Elric a great work of fiction. Interdicting the conventions that restrict creativity, portraying (romantic, non-tabooed) sex as an act of affection rather than “only” pleasure (both in and out of the story), and the purpose of creating a world of fantasy, be it intimate or philosophical.Michael Moorcock's anti-Conan work is much more than an anti-Conan work. The genius in Elric of Melniboné is that it's a completely accessible story of adventure with a complex, underlying philosophy. Michael Moorcock is inspired without being derivative, creative without being ponderous, capable of writing a elaborate story while also appealing to the masses. He never forgets that ideas can sometime outweigh a story and thrives upon that. His story is wildly creative and deceivingly simplistic in a most entertaining fashion.
Do You like book Elric Of Melniboné (1987)?
Fantasy Review BarnIn the style of an oral storyteller, bringing to mind the Greek classics in its deeds, I admit I was quite surprised by how good Elric of Melniboné was. It is not a question of an old book holding up in this case, rather Elric is obviously a pace setter that countless that follow can only hope to keep up with. If anything I have proven to myself that some of the classics of the genre are considered so for a reason; I will drop a minor heresy in that given a choice I would reread this title again anytime over any of Tolkien’s creations.A man thrust into power that he doesn’t truly want but is determined to keep. Elric struggles with a type of morality at the head of a people who most certainly don’t; long time adherents to chaos gods are the people of Melnibone and years of unquestioned superiority has them holding their heads high. Yet Elric is not shining knight; anti-hero seems to be a common designation. He often does things that would be considered to have the moral highground; such as stupidly showing mercy on several occasions when none would be given to him. But his search for morality seems less about a care for people underneath and more about controlling his own life and steering a new path for Melnibone; long lost in its own arrogance.Example? A inevitable sword fight comes to pass between two wielders of swords with minds (and desires) of their own. Mercy is not shown for mercy sakes, only to exert control over the sword’s bloodthirsty ways. Elric is a man who has no issue sending out his entire fleet to search for his own love; nor to use his own wounded veterans for his own purposes despite sending them to almost certain death.Knowing nothing going in but reputation I expected a darker run; more barbarian sword play than games of royal succession. So consider me pleasantly surprised on this front. With his albinism and reliance on a cocktail of drugs to keep his strength he is considered weak by his own people; a race completely sure of their superiority and unsure of the weak blood they perceive Elric to have. (I am unsure at this point if the people of Melnibone are a different race than the people of the ‘younger kingdoms’ or if it is a racial superiority complex they are exhibiting. It is interesting, disturbing, and probably best left to be answered by those who study the author in more depth).I mention a similarity to Greek classics partial because of the direct involvement of gods; Elric is both guided and saved by beings of greater power than even his own considerable sorceries. But he also feels like a hero of the old ballads. He isn’t perfect but is certainly larger than life. Toss in visuals of ships grounded by petty infighting between high beings and an entire golden fleet and I think my comparison is apt (and no doubt should I start digging I could find pages and pages proving that none of my ideas are all that original).Perhaps at its most interesting when dealing with memory; in Elricverse apparently a curse and a weapon. Elric has spent several lifetimes on a dreamers couch before taking the throne; giving him knowledge beyond his years. A mirror that steals and houses memories proves to be enough to take over small nation; the consequences of it possibly breaking are too dire to consider. Or a man trapped in another realm for wanted to know everything; and is now stuck there until he forgets it all.I am left in a strange spot in the end. Though obviously setting up a longer tale I feel oddly comfortable with where this book ends. I enjoyed it, quite a bit actually, but I am unsure if I possess the desire to move on in the story.4 StarsA note on the audio; it was interesting. The narrator had the perfect voice for the tone and his pacing was superb. He also switched between characters effectively but subtly; no falsettos for the woman’s voices or the like. It was backed with a musical score throughout which at first I thought might be distracting but ended up kind of digging. So, more musical scores behind my fantasy please!
—Nathan
In which Elric fights off his cousin's usurpation, first strikes a deal with Arioch and other higher powers, meets Rackhir the Red Archer, acquires the sword Stormbringer, and makes a lot of terrible choices in the name of defying Fate and the Powers That Be.Overwrought and amateurish, and yet still a classic of fantastic literature: wonderfully dry (you can almost picture him writing these books with one eyebrow continuously cocked at his typewriter), compelling, a quick read, and full of the great scenes and mythological weight that Moorock is so adept at spinning.
—Zach
This was a very charming book in its own morbid way. Elric is the singularly badass Emperor of Melniboné--a debauched, weird island nation that used to be a sprawling, powerful empire. Apparently it's considered completely uncool to be anything but self-possessed, icy and callous on Melniboné but Elric seems to be of a different stock than most of his pale kin--a bit more introspective and even moralistic. This alone presents him with several problems, and compounding things is his cousin Yyrkoon, who is a total ambitious dick--and if there's one thing hours and hours of Crusader Kings II has taught me it's that having an ambitious cousin is a really, really bad thing. The plot set up thusly, things get pretty weird and wild with awesome sentient magic swords and stuff like that.I'm not sure if I'd call this particularly gritty when compared to masters of gruesome like Martin or Abercrombie--people might get their genitalia lopped off for effect, but they're not gonna be subjected to months of prolonged torture and isolation on top of that. Still, it has a refreshing darkness to it in its content and philosophy, which must have been even moreso at the time when it was originally published (1972). Another wonderful thing this book has going for it is brevity, which is almost unheard of in the fantasy genre. If I remember right, this one was only like 150-160 pages--but even with that short length you get a totally filling fantasy story with plenty of the stuff we like like worldbuilding, characters, atmosphere and invention. I love me my bricks but it was a nice, breezy experience...even if that breeze kinda smells like rotten corpses.I love that Moorcock apparently wrote a billion of these because that means I hopefully have many more of these experiences with his books. His prose has a wonderful style and pace and he's constantly inventing awesome situations to stick Elric in...plus Elric himself is a captivating character. He's certainly what we would call an anti-hero and seems to be lacking in Mary Sue qualities. His philosophizing is always interesting and never seems bloated and it's awesome to see him develop into what we'd call a more "human" character. I could certainly recommend this one to any of my fantasy-reading friends--compared to what we're used to, this is an easy afternoon's read. What have you got to lose?
—Nate
