How do you combine science and fantasy?


I have a xbox one :joy:. I’ll look up some gameplay. I really need something that’ll get me working on book two. I’ve come to a complete stop! Worst part is i have my plot points set up and my ending ready. Just can’t get past chapter 4 :expressionless:


Is it bad that I saw a Classic Playstation with 20 preloaded games at my Wal-Mart last night for $100 and want one? (I have an original PS One from 18 years ago that has 45 games in mint condition.)




Everett, Washington.


Kinda bad, yeah, since they put hardly any good games on it. Nintendo hit a homerun with their Mini consoles, but Sony (and this is coming from a Sony fanboy) dropped the ball. So many awesome games in their library, and they give us… what, four of them? And the rest are all filler.


Depends on the games lol.




Back to your original question. While not exactly science, I have tech advances in my High Fantasy. Dragon racing for one, has electronics that can adapt into a virtual reality type setting using magic and the entire city is Victorian Style.


The complete list is…

  • Battle Arena Toshinden
  • Cool Boarders 2
  • Destruction Derby
  • Final Fantasy VII
  • Grand Theft Auto
  • Intelligent Qube
  • Jumping Flash!
  • Metal Gear Solid
  • Mr. Driller
  • Oddworld: Abe’s Oddysee
  • Rayman
  • Resident Evil Director’s Cut
  • Revelations: Persona
  • Ridge Racer Type 4
  • Super Puzzle Fighter II Turbo
  • Syphon Filter
  • Tekken 3
  • Tom Clancy’s Rainbow Six
  • Twisted Metal
  • Wild Arms

And out of all that, the only games that can be considered classics are Final Fantasy VII, Metal Gear Solid, Resident Evil (which is debatable, since the Director’s Cut screwed a lot of things up), and Oddworld. The controllers don’t even have thumbsticks.


Wild Arms is one I’ve always wanted to try out, but never got to add in my collection. In mine, I have the original Final Fantasy VII, Kartia, Final Fantasy Tactics, VIII, IX, and a few others.


You know, I think Sony should have fit at least 100 games on the platform preloaded–because the technology available could easily compress much of the library into one drive without breaking a sweat.


I loved Wild Arms. Star Ocean was another good one.

<--------- Of course, nothing beats that guy. :wink:


…my left hand?


I’ve always assumed that healers and healing spells, when closing the skin, push all bacteria out to the surface of the skin.


This question is one I should be able to answer easily, since the story I spent eight years writing (and 18 developing) is basically fantasy with a few splashes of science.

I’m still mulling it over, metaphorically chewing the end of my pen. Let’s see if I can break down my story, Grazing the Sky.

So, there’s two main characters and three main races. The races are Razalek, Spiro, and human; the characters Zidane and Lance. Lance is human at the story’s start, but has to trust Zidane in order to get the Spiro cells out of his body. Zidane is Spiro and Razalek, the mixed blood causing multiple deformities like oddly-shaped ear-tips, small lungs, and dysfunctional reproductive organs. This last disability is what triggers the story, as Zidane is searching for a way to take out his Spiro side, just like Lance is.

In order to gain Lance’s trust, Zidane teleports Lance into his brain and begins showing him memory after memory, attempting to answer Lance’s question of “why are you helping me” and “I wanna know what makes you… you.

A Razalek physician, Yittek, is introduced, his goal to unite all three races. Lance and Zidane later travel to him, where Yittek examins Lance and the science-aspect of the story comes in. Medicines are tested, blood is analyzed, etc.

That’s basically all the science in my story, aside from how the races came to be.
I really hope this answered your question!!


I love the idea of melding science and fantasy into one larger genre.

The story I’ve been formulating off and on and rewriting for the last few years, The Plight of Aelia (WIP), combines technology and magic. The armor and weapons that the knights in my story use are unique to the individual, so an enemy cannot steal and use them for their own gain. And these suits of armor also give my knights abilities that are very superpower or magic like. But I try to stay as close to scientifically probable. For example, one of my characters, Indigo’s, armor has built in tesla coils, which allows him to appear to have the power to call electricity from his fists. But his armor grounds him so that he, himself, is not electrocuted.

Also, I love the idea of flying in a spaceship while throwing fire ball-esque magic. To do this, my story utilizes a phlebotinum, a plot device or material that explains away logic, basically. I called it photon energy, powered by an ore I called photonium. It’s a common idea but this powers many of the techs and ideas within my story.

Star Wars is one of my favorite examples of this type of plot device. Lightsabers and blasters are powered by a similar concept, plasma. Many science fiction stories use this type of mechanism. Even FFVII with Materia.

So some type of plot device, such as nano tech or photon power or a magic crystal, goes a long way when explaining why that car over there flies or that guy shoots lasers from his eyes.


in my wip, magic exists in another world/dimension/reality, whatever you wanna call it. however, magic is supported by the science of that realm, and scientists are able to analyze it the same way they can analyze non-fictional science. so basically, magic is scientific, but in the normal/real world, it’s just not anything they’ve ever seen before. it’s like a whole plethora of new elements to add to the periodic table, almost doubling it. so yeah, it’s technically fantasy and magic and all that shit, but it’s still scientifically plausible in the book.


That’s basically what I just did it in my story. I’ll tell you about it, but I’m going to have to blur it for spoilers.

So basically, the heroine is a seamstress has the magical ability to conjure plants and other living things from her sewing, particularly her embroidery. The down side to this is, whenever something grown from her powers is hurt or damaged, she physically feels it herself. The villain, has similar abilities, except all his magical conjurings are anchored to his castle. So the heroine is basically held hostage in the villain’s castle for most of the story, and the villain makes her believe that if she sews him these magical garments using her abilities, he will let her go. This, of course, turns out to be untrue, and instead he forces her into a horribly abusive marriage, hoping to produce a worthy heir with their combined magic.

Earlier on in the story, the heroine finds out from her love interest about grafting–a horticultural technique that involves fusing two different plants together. One day, she and the villain get in an argument, and he throws one of the magic garments she made for him into the fireplace and burns it, leaving her incapacitated for a week. So to escape him, she takes the other garment she made for him, removes her own plant conjurings from it, grafts his conjurings in their place, then also burns it. This in turn, incapacitates him long enough that she is able to escape.


On principle, I put a lot of effort into making sure my world’s geology, climate, major ecosystems and species evolution all make sense under scientific or quasi-scientific principles. None of it will never be stated in the book, but there are a smattering of spots where the implications show:

  • Two members of my main group can taste a toxin in water that the rest cannot. They are incidentally the two closely related to a species that needs that detection ability to survive.

  • A lot of the racism in the book world is evolutionarily derived, and stems either from developing subspecies divisions, or traits (like emotionlessness or dull appearance) that have evolved in different species to help them survive.

  • Anyone who knows what they’re looking for could say what the world’s bedrock is made of just by looking at the surface features that show in the book.

  • I have geologically accurate earthquake behaviour, with plot implications.

  • When the climate starts shifting in the book, the ecological chaos that ensues is wild. We’re talking food shortages, food surpluses, conflicts because of those two things, species range shifts, forests dying, diseases breaking out in stressed populations, flooding, drought…

  • On that note, I try to model disease ecology with some degree of accuracy.

I could go on for days.