To read a spoiler-free review of Dune, click here.

For some spoiler-filled thoughts about the book, go ahead and read more…

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It’s interesting reading Dune immediately following a mass-reading of Vernor Vinge’s catalog, because both authors are essentially fascinated by post-humanity: Both see something essentially incomprehensible in the transhuman, but they approach it in different ways. Vinge chooses to approach it at oblique angles – from the POV of children; or on the rapid approach to it; or from a great distance; or through the lens of the primitive.

Herbert, on the other hand, tends to tackle the transhuman directly, but he does so from a fundamentally religious point of view.

To be clear on the distinction here: Vinge also equates transhumanity with godhood (the references to “Applied Theology” and “deicide”, for example, in A Fire Upon the Deep). But Herbert actually structures his narrative around a religious viewpoint – he couches his understanding of the transhuman through symbolism and prophecy; through divine mystery and ceremony.

Of course, the post-humanities of Vinge and Herbert are not exactly identical, either. But it would be interesting to see Vinge tackle Herbert’s thought (as expressed in an interview): “I had this theory that superheroes were disastrous for humans, that even if you postulated an infallible hero, the things this hero set in motion fell eventually into the hands of fallible mortals. What better way to destroy a civilization, society or a race than to set people into the wild oscillations which follow their turning over their critical judgment and decision-making faculties to a superhero?”

And it would be equally interesting to have seen Herbert tackle Vinge’s thesis: “Let an ultraintelligent machine be defined as a machine that can far surpass all the intellectual activities of any any man however clever. Since the design of machines is one of these intellectual activities, an ultraintelligent machine could design even better machines; there would then unquestionably be an “intelligence explosion,” and the intelligence of man would be left far behind. Thus the first ultraintelligent machine is the _last_ invention that man need ever make, provided that the machine is docile enough to tell us how to keep it under control. … It is more probable than not that, within the twentieth century, an ultraintelligent machine will be built and that it will be the last invention that man need make.”

But I digress.

For those of you completely unfamiliar with Dune, it may suffice to say that it is one of those works grouped with the Foundation Trilogy or The Lord of the Rings: A transformative and pivotal classic which cast a long shadow upon the entire genre from the moment it was published.

To understand how Dune achieved this stature, consider for the moment a seemingly simple question: What is the most impressive thing about Dune?

The trick is not in any particular answer. It is in the breadth of answers your question will provoke. Many people will point to the planet of Arrakis itself — painstakingly rendered and with a completely realized ecology. Others will point to the manipulation of prophecy. Or the action-packed battle sequences. Or the alien cultures. Or the evocative future history. Or the exploration of religious themes.

The story of Dune is a political thriller; it’s a character drama; it’s high tragedy; it’s mythological; it’s religious. And then Herbert tells it in the style of historical fiction within one of the most deeply realized science fiction settings ever realized on paper. It’s a gestalt creation.

And what do I, personally, find most impressive about Dune? The fact that Herbert successfully realized a story with the emotional depth and archetypal resonance of a Greek tragedy. I’ve probably read, watched, and listened to the Dune story more than two dozen times. And yet, every single time, there’s something fresh and new which can be gleaned from the experience.

GRADE: A+

For additional comments on Dune, which include SPOILERS, click here.

Frank Herbert
Published: 1965
Publisher: Ace
Cover Price: $7.99
ISBN: 0441172717
Buy Now!

Spells of Light and Darkness: The Art of the Flame and Void was released last week. If you’ve been thinking to yourself, “Light and darkness spells? Sounds pretty lame.” here are two spells of darkness that might change your mind:

Eclipse
Evocation [Darkness]
Level: Cleric 7, Sorcerer/Wizard 7
Components: V, S, M/DF
Casting Time: 10 minutes
Range: 2 miles
Area: 2-mile-radius sphere
Duration: 4d12 hours
Saving Throw: None
Spell Resistance: No

This spell creates an area of magical darkness in a 2-mile radius centered on a point chosen by the caster. Within the area of the spell the sun is blotted out, creating an area of magical darkness that suppresses natural light sources, resulting in an area of shadowy illumination. Creatures within an area of shadowy illumination gain concealment (20% miss chance). Even creatures that can normally see in such conditions (such as with darkvision or low-light vision) have the miss chance in an area shrouded in magical darkness.

A darkness spell (one with the darkness descriptor) counters and dispels a light spell (one with the light descriptor) of an equal or lower level. A darkness spell brought into the area of a light spell of equal or higher level is temporarily negated (and vice versa). If both the darkness and light spells are simultaneously negated, the otherwise prevailing light conditions exist in the overlapping areas of effect.

Arcane Material Component: A small diamond dipped in black oil.

Shadow Spy
Divination [Darkness, Scrying]
Level: Assassin 3, Cleric 4, Sorcerer/Wizard 3
Components: V, S, M/DF
Casting Time: 1 minute
Range: Personal
Target: Your shadow
Duration: 1 min./level
Saving Throw: None
Spell Resistance: No

This spell animates your shadow, allowing you to independently move it up to your speed as a move action. In addition, the shadow spy acts as a scrying sensor, allowing you to see (but not hear) the immediate surroundings of your shadow as per a scrying spell.
A shadow spy can be difficult detect, making Hide checks using your skill modifier with a +10 circumstance bonus. In areas of dim light or shadowy illumination, this circumstance bonus doubles to +20. The shadow spy cannot be physically harmed.

While the spell remains in effect, you possess no natural shadow.

A darkness spell (one with the darkness descriptor) counters and dispels a light spell (one with the light descriptor) of an equal or lower level. A darkness spell brought into the area of a light spell of equal or higher level is temporarily negated (and vice versa). If both the darkness and light spells are simultaneously negated, the otherwise prevailing light conditions exist in the overlapping areas of effect.

Arcane Material Component: A shard of obsidian.

The eclipse spell is the type of thing that high-level necromancers use to keep their undead happy and Dark Lords crafts into sunslayer spheres to keep the yokels properly cowed with fear.

But shadow spy is the type of all-purpose utility spell that just about any self-respecting spellcaster will find useful. It’s less powerful than scrying, but also a slightly lower level and very flavorful.

IN THE SHADOW OF THE SPIRE

CHARACTER BACKGROUND: RANTHIR

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IN THE SHADOW OF THE SPIRE

Character Background: Ranthir

Many of you are reading this website because of D&D: Calibrating Your Expectations, the essay I wrote in March of last year. One of the points I made in that essay is that low level characters are actually more than capable of being experienced experts in their fields. Even at 1st-level, while they don’t have to be, they certainly can be.

Which brings us to the character of Ranthir, the last of our main characters: This guy isn’t your typical 1st-level apprentice. Instead, he’s an accomplished Acolyte of the legendary Academy in Isiltur, the Spired City. Although his esoteric theories are not fashionable or popular, he is nevertheless an accomplished scholar.

In our world he would be a gifted graduate student. In the world of D&D, there is a much higher ladder for him yet to climb. But I think it’s important not to denigrate the accomplishments of those who would be considered gifted and extraordinary in our world merely because they happen to live in a world where the superhuman is possible.

Which is not to say I don’t like my share of neophyte characters, too. Take a peek at Tee and Elestra, for example.

All I’m saying is that it can also be fun to shake things up a bit and roll up a starting character who hasn’t just fallen off the turnip truck: The guy who was already honored among his tribesmen, served a long and glorious tour of duty in the military, or distinguished himself in a scholastic career.

And I’m pointing out that you don’t need to start the character any higher than 1st-level to make that happen.