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You thought I went for high-fantasy? I think that Váledh was about epic queer-fantasy.

It's kind of interesting, looking at the genres, that imagery, which is supposed to communicate high-fantasy, makes a plentiful use of cosmetic industry produce, whereas low-fantasy relies, rather, on perception of the magical in its mystique. I might have thought that the generic reputations suggest that things work the other way around. High-fantasy seems to emphasise civilization, whereas low-fantasy relies on the perspective of the protagonist, and, as a consequence, much that is unfamiliar to the him/her gains an element of mystique (possibly non-diagnostic 'medicalisation' within less fantastic contemporary genres). I'm having an image of a dark-eyed wood elf slinking in low flood water that has invaded a forest, its dirty skin still shining with the kind of otherness that reveals a lot about the looker. High-fantasy is a sociological wet dream, successful low-fantasy requires that either the protagonist or the narrator has a sharp eye regarding imperfections of the perceiving agent.



I don't seem to think that high and low are usefully distinguished by the presence of magic. At the very least to such would require a firm theory of what's 'magical'.

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