Rule of thumb: Say there are vampires in New York. One Hundred Years of Solitude, Midnight’s Children, and Beloved are defining examples of magical realism. Also, the way that religious and horror fiction are distinct enough to be distinguished from fantasy even when they fit its basic definition of containing unscientific elements, the same is true for magical realism. The literary world outside of Latin America so closely associates the region with magical realism that the McOndo movement (for which see below) exists chiefly to prove that not everything literary that comes from Latin America involves magic and angels. On the other hand, the inclusion of well-written magical realism into the canons of Lit Fic is historically well supported, as Latin America's major 20th-century authors mostly wrote in this genre. "Magical realism" is sometimes misused to explain why a favorite work is literary fiction and thus somehow superior to genre fiction like Fantasy and Science Fiction. Or perhaps it's just a quirky vibe that infuses the environment ( Northern Exposure, Twin Peaks). Tchotchkes telling the heroine what to do ( Wonderfalls) or the ghost of your father showing up at odd intervals to offer personal and/or professional advice ( Due South). In Magic Realism, events just happen, as in dreams. It has a connection to surrealism, dream logic, and poetry. Magical realism is a story that takes place in a realistic setting that is recognizable as the historical past or present. While many of the residents decide to pack up and leave, the core cast unpack the antiques - revealed to be the full furnishings of a house - into the skeletal house and as they do, decide to stay in the town and help rebuild it, together.- Gabriel García Márquez (after the arrival of the railroad, when dozens of new inventions - the phonograph, the telephone, the electric lightbulb - flooded Macondo), One Hundred Years of Solitude Frazier's actions ultimately fractured the town into the struggling state it is seen in when the player finally arrives there.]] * BittersweetEnding: ] Meanwhile, ] Instead, ]Notably, the CPC sent a worker into the town to create the ditches while simultaneously stoking the town's fear of this man as an interlocutor, which led someone from the town to kill this worker in the night]. * BigBad: As of ''Act III'', it appears to be ], and this is illustrated mainly through Conway's downfall.]] ** A minor but no less troubling one is ]to discard unhelpful things and philosophies in order to build up more positive and supportive aspects of their own micro-culture] to his own gain, expunging creative endeavours and knowledge he didn't like, all in attempts to consolidate power for himself. For example, one loop has the stops The Sandwich, The Goggles and The Microphone, clearly referencing the bar The Lower Depths. Each of the "highways" on it are themed after specific places and could very well be underneath each one of them. The computer turns out to be ] Once the player has completed the ] ** It can be suggested that the Zero is not only a loop of space, but of time. ** ''Act III'' introduces Xanadu, an ancient computer created by Lula Chamberlain, Joseph the gas station attendant and a man named Donald. While some of the residents decide to pack up and leave, the core cast unpack the antiques - revealed to be the full furnishings of a house - into the skeletal house and as they do, decide to stay in the town and help rebuild it, together.]] The "sweet" part of this gut punch is amplified by the fact that ] * BittersweetEnding: ] Meanwhile, ] Instead, ]Notably, the CPC sent a worker into the town to create the ditches while simultaneously stoking the town's fear of this man as an interlocutor, which led someone from the town to kill this worker in the night].
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