"Now you might think I'd be all over this shapeshifting business, Paxto, but if comic books, cartoons, and Sci-Fi Original Movies have taught me anything, it's that shapeshifting comes with a bunch of boring rules and restrictions that limit its potential Turn-Into-A-Bulldozer-Whenever-I-Wantity. 'You can turn into a machine gun but not bullets.' 'Contemporary jazz turns you back to normal.' 'You can only turn into presents your grandma's knitted for you.'"
"We don't ask that you stay within the bounds of physics, but at least follow the rules you freaking made up."
"But Magic is as Magic does. Just funny that way."
An author's ability to solve conflict satisfactorily with magic is directly proportional to how well the reader understands said magic.
Fun fact about voodoo, Larry: can't conjure a *thing* for myself.
Y'see, demons can't resurrect people unless a deal's made. I know, red tape, it'll make you nuts.
— Azazel, Supernatural
"Genies are only fun in the movies if you define and limit their powers."
"Its very TNG to take something that the Original Series did so naturally (place the weirdest things like Nazis and hippies in the future) and give it a technological reason for happening like the holodeck or because of the power of the Q. This show is far too stuffy to just let these insane things take place simply because. Internal continuity is shot to hell this season as when you leave the holodeck you can bring things like water and lipstick with you…these things are not confined to the hologrid, which surely suggests that anything can walk off the holodeck onto the ship?"
...but one thing [Speed Racer] did right is that it didn’t bother explaining why Speed Racer lived in this crazy-ass world with these crazy-ass cars driving on crazy-ass racetracks, and also why they had a monkey. The point is that if you start your movie with the premise “this is how things are,” audiences will, more often than not, be fine with that so long as you suspend their disbelief and never question your own narrative.
— Mightygodking on superhero movies
The natural assumption is that any subject that can be taught to students in such a way that their competence in this subject can be tested by examination is a science.
— Gareth B. Matthews on magic in Harry Potter, Harry Potter and Philosophy
For all its faults — and make no mistake, there are many — Batman & Robin has a consistent internal logic. It constructs a world in which it’s okay for all this stuff to exist. Which is exactly what Nolan does in his films, albeit with a completely different idea of what “making it okay for this stuff to exist” actually means.
— Chris Sims on Batman & Robin
But when the wizard is onstage as the main character, you have to adopt what I call the Jack Vance Rule. (I call it this because Jack Vance is the first author successfully and adroitly to have applied this rule in his The Dying Earth). The rule is (1) The wizard has to be able to do something unusual, or else he is not a wizard (2) he cannot do everything, or else there is no drama; therefore (3) the story teller has to communicate the reader whatever the dividing line is that separates what the wizard can do from what he cannot do, so that the reader can have a reasonable expectation of knowing what the wizard can and cannot do.