Edmund Pevensie: What is Past

I started listening to The Chronicles of Narnia again on my drives (usually when I've picked up my kids, since Harry Potter and Percy Jackson might be a little mature for a six-year-old or a three-year-old. Every other time I've read or listened to the series, I did it chronologically (my brain likes it that way). This time I'm going in release order and my plan is to highlight one character per book along the way. First up: Edmund.

“You have a traitor there, Aslan. … You know that every traitor belongs to me as my lawful prey and that for every treachery I have a right to a kill.” — Jadis ("The Lion, the Witch, and the Wardrobe")

After Edmund betrayed his family and allied himself with the White Witch, things went downhill for him very fast. He was abused and beaten down, physically and mentally. It was miraculous that Aslan's forces were able to find him and rescue him from the clutches of death, at the hand of Jadis. As the Witch said, he was a traitor and she could rightfully condemn him to death. Why she had that authority? Not sure, but the fact is that she could.

Every Narnia fan knows that Aslan's sacrifice for Edmund represents the crucifixion and resurrection of Jesus Christ. Aslan died on the stone table to save someone fated for death, just as the Savior allowed himself to be killed on the cross to save humanity, doomed for eternal damnation. But even before the physical sacrifice, Aslan changed Edmund's heart.

“There is no need to talk to your brother about what is past.” — Aslan ("The Lion, the Witch, and the Wardrobe")

Aslan didn't simply absolve Edmund of his treachery; he changed the nature of the future king. And his brother and sisters were instructed to not talk any further about his mistake. Edmund was a "new creature" (2 Corinthians 5:17) and deserved to be treated as such. 

“When we repent, when we confess and forsake our sins, the Lord says He remembers them no more. It is not that He forgets; rather, in a remarkable way, it seems He chooses not to remember them, nor need we.” — Elder Gong (“Trust Again”)

I'm sure we've all heard the question countless times about why we remember our past sins so clearly, even though God has forgotten them. Alma the Younger explains this idea clearly when he said he could "remember [his] pains no more." (Alma 36:19) Yes, Alma could remember his sins. But he was able to use his past to teach and testify of the Atonement of Jesus Christ, making him and his friends some of the most powerful missionaries in The Book of Mormon. After "a mighty change of heart" (Alma 5:14) I'm not the same man anymore. Every time we repent we continue to grow and change through the Atonement. I like to think I was pretty mature for a freshman at BYU, but I'm not the same person sixteen years later. Yet there are lessons from my past that I can use to bless others.

“Even a traitor may mend. I have known one that did.” —King Edmund (“The Horse and His Boy”)

As a grown man and king, Edmund testified of his change and his family continued to tell the story of the wardrobe. He used that story and testimony to feel compassion for Prince Rabadash. The prince of Calormen didn't accept that mercy, but it still says something about Edmund that he offered the forgiveness. 

I hope each of us can use Edmund's example to quit dwelling on mistakes of the past. I know I could do better at replaying the shame of past sins. As Aslan told the Pevensies, “There is no need to talk...about what is past.” Yes, we can use those experiences to bear testimony, but that's different from "harrowing up" ourselves when God has already moved on. Easier said than done, but that's my prayer for myself and for all of us.

PS: I will reserve judgment of the upcoming adaptation of The Magician's Nephew until I see it.

More Content You Might Like:

• “'When You’re Not Looking'” by Spencer
• "Good Movie Additions: The Lion, the Witch, and the Wardrobe" by Spencer
• "5 Gospel Truths that C.S. Lewis Got Right" by Michael

11 Narnia Tracks for Your Workout

Ever since I was a freshman at BYU, I've been a bit obsessed with The Chronicles of Narnia (see also all my previous Narnia posts). The score was one of my favorites to do homework to and now I'll often use it while I'm documenting my treatments at work. In addition, some of the tracks also work well for exercise. Some don't (like "A Narnia Lullaby") but others have great energy for keeping your workout going. So here's my ongoing playlist of Narnia (and Narnia-inspired) tracks for getting pumped up!

PS: I can only hope there's decent score for the supposed Netflix adaptation (if that ever happens).

The Battle (The Lion, the Witch, and the Wardrobe)
Any Narnia workout mix would be lacking without the epic battle music from the first film.

Return of the Lion (Prince Caspian)
The tracks introducing Aslan into battle are always powerful. Same kind of idea when Aslan is resurrected in the first movie.

Voyage (Scott Krippayne)
It was never on the Dawn Treader soundtrack, but it was inspired by the book/movie. It does a great job pumping me up and not just at the gym.

Market Forces (Voyage of the Dawn Treader)
Rescuing the captives on the Lone Islands was the first battle of the movie. And I love the clever track name.

To Aslan's Camp (The Lion the Witch and the Wardrobe)
Not exactly a warm up song, but it would be a perfect track for right after your warm up. Like arriving at the feet of the Lion.

Open Up Your Eyes (Jeremy Camp)
It wasn't on the soundtrack exactly, but it was part of "Music Inspired by The Chronicles of Narnia". I've thought for years that almost any Jeremy Camp track is a good exercise song.

Duel (Voyage of the Dawn Treader)
It's literally a training song for while Caspian spars with Edmund. Weight training. Sword training. Same idea, right?

The Blitz, 1940 (The Lion, the Witch, and the Wardrobe)
You might not be sheltering in place during your workouts, but it's technically battle music. A great tempo for exercise if nothing else.

This is Home (Switchfoot)
The credits version from Prince Caspian is a lot more calming. But the track released by Switchfoot has a great pacing for a cooldown.

Prince Caspian Flees (Prince Caspian)
The opening scenes of the first sequel are intense, with Caspian fleeing his uncle by horse. Perfect for cardio.

The Painting (Voyage of the Dawn Treader)
This one could be another post-warmup track, entering your workout, as the kids entered Narnia.

More Content You Might Like:

• "Good Movie Additions: Voyage of the Dawn Treader" by Spencer
• "Our Favorite Narnians" by LDS Geeks
  
• "6 Scenes I'd Want in The Horse and His Boy" by Spencer

“When You’re Not Looking”

Let me tell you a story about waiting for my mission call (twice). I’ve written about my missionary experience(s) previously but the short version is that, because of Asperger’s and anxiety, my mission call took a little extra consideration. I longed to serve a mission but had to come home three months in because my mental health struggles made me non-functional. After almost a year of more longing, I went back on my mission for a few months before the Spirit spoke to me about going home again. 

Those years were also the time that I got invested in The Chronicles of Narnia. Words from those books and movies spoke to me and my heart's desire. A few years ago, I wrote about how "The Horse and His Boy" spoke comfort as I waited to go back on my mission. In the "Prince Caspian" movie, Peter and Lucy both expressed longing to return to Narnia and the lessons learned upon their return. The one lesson that's been on my mind recently comes from the movie version of "The Lion, the Witch, and the Wardrobe":

Lucy: Will we ever go back?

Professor Kirke: Oh, I expect so. But it'll probably happen when you're not looking for it. All the same... best to keep your eyes open.

Heavenly Father hears the longings of our hearts, but in my experience those prayers are rarely answered in the way we expect. Just like with my mission calls, we may have to wait and it might not be exactly what we hoped for. However, I'm learning (again) that acting anxious about these things hasn't helped me in the past and doesn't help me now.

Of course, letting go of that anxiety is easier said than done. It's been sixteen years since my first mission call and I can definitely handle my anxiety better today than it was at the time of that first missionary call (maybe I'd finally be able to handle the anxiety of full-time missionary service). However, there are still plenty of things in my life that I've had to wait for. Some are bigger, like anxiously waiting for a positive pregnancy test. Some are smaller, like waiting for a payday. Most things are somewhere in the middle.

As Professor Kirke said, these things often happen "when you're not looking for it". Like that saying about a watched pot. It's funny how things have changed for me when I've been able to let go of my worries, even partially. Once I've finally learned the lesson at hand, I guess I'm ready to receive the blessings for which I prayed.

The Lord spoke to early saints regarding their temporary dwellings: "And the hour and the day is not given unto them, wherefore let them act upon this land as for years, and this shall turn unto them for their good." (D&C 51:17) I heard that taught in YSA wards (very transient at BYU) and I learned that while waiting to go back on my mission. Live like you'll be there forever (or at least a long time) and do good wherever you are. 

Whatever blessing you're waiting for, "keep your eyes open" but remember to "take no thought for your life" (Matthew 6:25) as God has promised to care for us. It'll probably happen when you're not looking. Live your life as best you know how and "Stand still and see the salvation of the Lord." (D&C 123:17) He has worked miracles in my life. And He will work miracles in yours.

More Content You Might Like:

• "6 Scenes I'd Want in The Horse and His Boy" by Spencer
• "Good Movie Additions: The Lion, the Witch, and the Wardrobe" by Spencer
• "5 Gospel Truths that C.S. Lewis Got Right" by Michael

Friday Creature Feature - Fledge

I debated for a while about which spotlight to do for Year of the Horse. I haven’t been consistent at featuring each year of the Chinese zodiac—mostly citing Disney dragons, dogs, tigers in the years I remembered to do it. Instead of Disney horses, I’m going with a creature feature from one of my favorite fandoms: Narnia. I could have easily gone with Narnian horses as a whole (Phillip, Bree, Hwin, Jewel, etc) but I wanted to look at the first powerful steed in Narnia’s history. 

Born to a cavalry horse, Fledge was called Strawberry by Frank, the cabby who owned him. Neither felt at home in the city and longed for the country life. So when Jadis commandeered the horse, it was providence that the pair was pulled into Narnia with Diggory, Polly, Uncle Andrew, and the Witch. 

As the creation of Narnia proceeded, Strawberry was turned into a talking horse by Aslan. He held vague memories of his life as a dumb animal. At least enough to trust Frank and carry the kids to the Lion, his final task as “Strawberry”.

When Diggory was tasked with protecting the new land of Narnia from Jadis, Aslan turned Strawberry in the winged horse named Fledge. And as the newly christened steed, he bonded with Polly and Diggory as they retrieved the fruit that would help protect Narnia for hundreds of years. 

I think it’s safe to assume that Fledge remained loyal to King Frank and Queen Helen as they reigned over Narnia. A majestic steed that was transformed by grandeur personified—or lion-ified. 

Unlike my “Mistaken Identity” posts, Fledge is a story of transformation. Though born a dumb horse, Strawberry became the majestic Fledge. Aslan’s power changed him into something that Strawberry couldn’t have imagined on his own. Taken in a gospel light, it’s not unlike how Jesus Christ transforms us through the power and grace of His atoning sacrifice. 

President Ezra Taft Benson said, “Men and women who turn their lives over to God will discover that He can make a lot more out of their lives than they can.” Just as Aslan turned Strawberry into the powerful and magical Fledge, Jesus Christ will turn each of us into miraculous and eternal beings as we turn our lives to Him. 

Good Movie Additions: Voyage of the Dawn Treader

Book-to-movie adaptations get a bad reputation from years and years of Hodge podge work (see fans of Percy Jackson and their movies) but I still stand behind the apple pie metaphor from a blog post TJ did years ago. It’s an adaptation, after all, not a direct translation. So some artistic liberties are taken. Some adaptations cause fans to die a little inside (see the Burrow burning in Half-Blood Prince) because they’re unnecessary, but some enhance the feeling and theme of the story (see Stephen’s post about Dawn Treader). I guess my point is that not all creative additions to book-to-movie adaptations are bad. That’s what I want to delve into with some of these blog posts. Today’s example: Voyage of the Dawn Treader.

Edmund and Lucy’s Insecurities

The opening scenes of the movie beautifully (and awkwardly) set up the youthful angst of King Edmund and Queen Lucy in England. Always being second-best to Peter, it’s understandable that Edmund would feel slighted. And when Lucy’s grown up hearing how beautiful her older sister is, it’s easy to start the comparisons. These insecurities weren’t front and center in the book, but they’re the natural progression of these two, especially having to experience puberty for a second time. 

Reepicheep’s Expressions of Faith

I love Reepicheep, especially the movie version. Instead of the blind courage he tends to display in the book, movie Reepicheep shows more faith in Aslan and his mission. Maybe it’s how he’s voiced and animated in the movie compared to how he’s narrated in the audiobooks, but Reepicheep’s thirst for adventure appears more centered in finding Aslan when I watch the movie.

The Lone Islands

Discussions that are engaging and exciting in written form don’t always translate to film. So while book Caspian avoided sharing his royal lineage at first and plotted the takeover of the Lone Islands, the market scene in the movie quickly gives more action and excitement for your viewing pleasure. Plus, I love the score from that scene–It’s perfect for a workout playlist.

The Seven Swords and the Green Mist

I’ve heard plenty of fans complain about the obvious addition of the seven swords in the movie. While the swords never appeared in the book and the mist only appeared briefly, they gave continuity to the story. While I love the Narnia books, the individual plots on each island and vaguely looking for the lords don’t exactly translate well to the big screen. So despite gripes I’ve heard, I like the additional plot points to tie the movie together, even if it also meant rearranging the order of the islands too.

Rhince and Gale

Instead of first-mate Rhince being simply another crew member on the Dawn Treader, the movie gave a simple backstory to the sailor. While he may have just been a civilian sailor in the movie, he was a family man and rescuing his wife gave me a greater reason to invest in him. In addition, his stowaway daughter Gale gave a nice foil to Lucy’s insecurities. So once Lucy had fought her fears, she was able to positively affirm Gale moving forward.

Didn't even get into things here with Caspian's insecurities or Eustace's time as a dragon (maybe those'll be future blog posts, but we'll see). But I know I've been controversial here to some extent, so I want to hear where you agree/disagree with Dawn Treader.

For Narnia and for Aslan!

Think Manga Invented Isekai? Think Again!

 

In the past decade, the isekai genre has risen to prominence in anime and manga, capturing the imaginations of millions with stories that transport ordinary individuals into fantastical worlds. From Sword Art Online to Re:Zero, these narratives are often characterized by their blend of adventure, otherworldly settings, and personal growth as protagonists navigate their new environments. The first Isekai in manga was Warrior From Another World written in 1979. However, long before anime embraced the idea of otherworldly travel, Western literature laid the foundation for what we now recognize as the core elements of isekai. Classic works such as Alice in Wonderland, Peter Pan, The Chronicles of Narnia, and The Wizard of Oz are quintessential examples of this concept, predating the modern genre by decades, if not centuries.

Isekai is a Japanese term that literally means different world. In the context of storytelling, it refers to a genre where the protagonist is transported from their ordinary life into a fantastical realm. In most cases, this world is vastly different from our own, often involving magical creatures, advanced technology, or new societal rules that challenge the protagonist's perception of reality. 

But, when we think about the core aspects of isekai—transportation to another world, the contrast between the real and the fantastical, and the protagonist’s journey through personal or moral development—we realize that this idea isn’t unique to Japan. Western literature has long explored this very concept, often in stories that are now considered classics.

Alice in Wonderland: The Pioneer of World-Hopping

Lewis Carroll's Alice's Adventures in Wonderland (1865) is one of the earliest and most enduring examples of isekai in Western literature. Alice, an ordinary girl, tumbles down a rabbit hole and into the bizarre world of Wonderland. From the talking animals to the illogical laws of nature, Alice must navigate this curious world while trying to understand the strange creatures she encounters.

Wonderland is, in many ways, the quintessential other world of an isekai story. It is bizarre, disorienting, and operates under rules that are completely alien to Alice. Yet, like many isekai protagonists, Alice grows through her experiences in this new realm. While she begins her journey bewildered by Wonderland’s oddities, she gradually learns to assert herself, starting off not knowing which direction to go to ultimately standing up to the Queen of Hearts before waking up in the real world. Her journey of self-discovery through the lens of a fantastical world makes Alice in Wonderland a clear precursor to the modern isekai genre.

Peter Pan: The Fantasy World of Neverland

J.M. Barrie’s Peter Pan (1904) takes the concept of travel to another world in a different direction. Wendy, John, and Michael Darling are whisked away from their home in London by Peter Pan and flown to Neverland—a magical island inhabited by fairies, pirates, mermaids, and Lost Boys. Like an isekai, the real world and Neverland are starkly contrasted. In Neverland, time behaves differently, magical creatures exist, and the children are free from the restrictions of the adult world.

Neverland embodies the wish-fulfillment aspect that is so often central to isekai stories. In Neverland, children can fly, fight pirates, and live out heroic adventures. Yet, Barrie’s tale also explores the dangers of escapism, a theme that many modern isekai series touch upon. Wendy and her brothers eventually choose to return to the real world, having learned that while Neverland offers excitement and freedom, it is not where they truly belong. This idea of experiencing growth through an adventure in another world is a defining characteristic of isekai storytelling.

The Chronicles of Narnia: The Doorway to Another World

C.S. Lewis’s The Chronicles of Narnia series (1950-1956), particularly The Lion, the Witch, and the Wardrobe, is perhaps the most overt example of an isekai in classic Western literature. Four siblings—Peter, Susan, Edmund, and Lucy—stumble through the wardrobe into the magical land of Narnia, where they are destined to play key roles in the battle between good and evil. 

Narnia exemplifies many of the tropes seen in contemporary isekai: an ordinary group of people transported to a new world, where they discover latent powers or roles of great importance. The Pevensie children arrive as outsiders, but they soon find that they are integral to the world they’ve entered. They grow into leaders, learn valuable moral lessons, and by the end of their journey, they are different people from when they first entered the wardrobe.

Like many modern isekai stories, Narnia plays on the tension between the fantastical world and the real one. The Pevensies eventually return to their own world, but they are forever changed by their experiences in Narnia, just as protagonists in modern isekai are transformed by their adventures.

The Wizard of Oz: The Classic American Isekai

L. Frank Baum’s The Wonderful Wizard of Oz (1900) is another cornerstone of Western isekai literature. Dorothy Gale, swept away by a tornado from her home in Kansas, finds herself in the colorful, magical land of Oz. Much like Alice in Wonderland, Dorothy must navigate this new world and its eccentric inhabitants—including a scarecrow in need of a brain, a tin man seeking a heart, and a lion in search of courage—on her way to return home.

Oz is as strange and wondrous as Wonderland, but Baum’s story has a more defined hero’s journey. Dorothy undergoes growth and self-realization through her travels in Oz, learning that the power to achieve her goals lies within her all along. The theme of personal discovery through an adventure in a new world is a hallmark of both The Wizard of Oz and the isekai genre.

 Gulliver's Travels: Another Classic Example

 

Jonathan Swift's Gulliver’s Travels (1726) is another early example of isekai before isekai was a genre. The protagonist, Lemuel Gulliver, is repeatedly transported to various strange lands, including Lilliput, where the inhabitants are tiny, and Brobdingnag, where the inhabitants are giants. Each land has its own unique rules and customs, often reflecting satirical commentary on the political and social conditions of Swift's time.

While Gulliver's Travels is more of a satirical work than an adventure tale, it nonetheless shares key isekai elements. Gulliver’s experiences in these fantastical realms force him to reflect on human nature, societal norms, and his own place in the world, much like modern isekai protagonists are changed by their journeys through other worlds.

The Legacy of Classic Isekai

The isekai genre, as we know it today, may be synonymous with anime and manga, but its roots run deep in Western literature. Alice in Wonderland, Peter Pan, The Chronicles of Narnia, The Wizard of Oz, and Gulliver’s Travels all explore the fundamental theme of journeying to another world and growing through that experience. These stories set the stage for the modern isekai genre by blending escapism, adventure, and personal transformation in ways that continue to resonate with readers today.

In many ways, these classic works prove that the allure of otherworldly adventures transcends cultures and time periods. While isekai has evolved into a distinctly modern genre, its core themes remain as timeless as they were in the days of Alice, Dorothy, and the Pevensie children.

Our Favorite Narnians

I recently finished re-reading (and rewatching) The Chronicle of Narnia. It's been one of my favorites for about fifteen years now, since I was first shown Prince Caspian at a college movie night. They're always good movies and books that I could watch and read on repeat to boost my mood. So for this post I asked some of our team to pick their favorite Narnian (which unfortunately rules out my favorite protagonist, Shasta/Cor). With such an inspiring series, I hope you're able to glean some inspiration from our favorites.

--Spencer

Aslan 

I couldn't decide between Aslan and Edmund for they are the best characters in the series. However, without Aslan, Edmund's redemption would be meaningless. Therefore, in this post I will highlight why Aslan is the best character. 

As any fan of Narnia knows Aslan is symbolic of Jesus Christ. They share striking parallels that underscore their roles as symbols of divine intervention, sacrifice, and redemption in their respective narratives. Both figures are depicted as powerful yet benevolent leaders who offer profound guidance and protection to their followers. Aslan, like Jesus, embodies the ultimate moral authority, representing the highest virtues of courage, wisdom, and selflessness. His actions in The Chronicles of Narnia, such as his sacrificial death and subsequent resurrection, echo Jesus's life.

The symbolism surrounding Aslan is deeply rooted in Christian theology. Aslan’s death in Edmund’s place and his resurrection are direct allegories to Jesus's crucifixion and resurrection, signifying themes of atonement and the triumph of good over evil. Through these similarities, Aslan serves not only as a central figure in Narnia’s lore but also as a literary reflection of the profound spiritual and moral teachings of Christianity. The reason I believe that The Chronicles of Narnia is successful is thanks to Aslan similitude to Jesus Christ.

--Michael

Reepicheep is my favorite because he is an embodiment of “by small and simple things are great things brought to pass.” Despite being small in stature, he used his talents to fight for Aslan and always kept his eyes on the goal of one day entering Aslan’s country. I loved the interaction between Reepicheep and Aslan in the film version of Prince Caspian when it almost appears that Aslan will not be giving Reepicheep back his tail. At the sight of Reepicheep’s squadron of mice willing to cut their own tails off, Aslan restores Reepicheep’s own tail. It is sweet to see Reepicheep’s own loyalty to Aslan and see his desire fulfilled in being allowed to enter Aslan’s country, no longer needing his rapier, and the subsequently greet the seven friends of Narnia into that same country. He is loyal, he is fearless, he is a talented fighter and chess player, what more could you hope to find in a mouse!

--Russell

It's a struggle to decide on my favorite Narnian. Depending on the day it could shift between Reepicheep, Eustace, and Lucy (especially the movie versions) but for today I landed on Puddleglum. He's probably the biggest reason I'm still upset that The Silver Chair never got adapted for the movies. While the kids frequently described him as a "wet blanket", he stated multiple times that he was more optimistic than most Marshwiggles. Despite his apparent pessimism and his perceived negativity, I relate to Puddleglum a lot.

He came across as a pessimist compared to Eustace and Jill, but he never faltered in his commitment to see the quest through and find Prince Rilian. Imperfect as he was, Puddleglum tried to follow Aslan's signs despite the grievances of his traveling companions. True he made some mistakes, like going to the giants' castle, but he demonstrated faith in Aslan's words despite his mistakes and even though he didn't know the outcome. He readily accepted that following Aslan's direction didn't mean their journey would go smoothly, just that they'd get where they needed to be. In effect, he was willing to die on that quest if it meant listening to Aslan. And of course he was the one who finally stood up to the Lady of the Green Kirtle and put his fate in Aslan's paws regardless of the outcome. "I’m on Aslan’s side even if there isn’t any Aslan to lead it. I’m going to live as like a Narnian as I can even if there isn’t any Narnia."

Honestly, I probably come across a lot like him. Sometimes I have to verbalize my anxieties in order to stay optimistic (my wife has noted this many times) and sometimes I can get pretty down despite my faith and my words. But I'm on Aslan's side too. 

Also, did I mention that he was portrayed by Tom Baker in the 1990 BBC adaptation of The Silver Chair? The Fourth Doctor himself! Legendary!

--Spencer

Good Movie Additions: Prince Caspian

Book-to-movie adaptations get a bad reputation from years and years of Hodge podge work (see fans of Percy Jackson and their movies) but I still stand behind the apple pie metaphor from a blog post TJ did years ago. It’s an adaptation, after all, not a direct translation. So some artistic liberties are taken. Some adaptations cause fans to die a little inside (see the Burrow burning in Half-Blood Prince) because they’re unnecessary, but some enhance the feeling and theme of the story (see Stephen’s post about Dawn Treader). I guess my point is that not all creative additions to book-to-movie adaptations are bad. That’s what I want to delve into with some of these blog posts. Today’s example: Prince Caspian.

Susan’s Awkward Encounter and Peter’s Fight

Perhaps it was foreshadowing for her eventually forgetting Narnia, but a couple times it almost seemed like this movie went out of its way to make Susan less approachable (and yet more appealing to Caspian--which wasn't in the books). The first (and funniest) of these was when she briefly took on a fake name at the train station to avoid being hit on. But of course that awkward encounter was interrupted by Peter and Edmund getting in a fight. I liked the additional scenes before entering Narnia because it put the four siblings in this struggle being back in England, despite ruling for years in Narnia (imagine going through puberty twice....). Especially for Peter, it set up his prideful persona that had to be shed later on in the movie to make way for Aslan's will.

The Urgency of the Mystery

In the book, the Pevensie siblings were excited to get back to Narnia, but they seemed to just be along for the ride, as far as all the mystery. In contrast, the film explicitly pointed out that things had changed since they left Narnia. Cair Paravel had been attacked, their friends from their reign were likely long dead, and even the questions asked to Trumpkin added a sense of urgency to their arrival in Narnia. Even the fact that Caspian blew the horn as he was pursued (not to mention Trumpkin's kidnapping and execution) gave a sense of urgency, as opposed to waiting endlessly before calling for help. Something was wrong in Narnia and the events of the movie had a pacing that knew it had to be fixed. But still there was time for a wardrobe change before encountering Trumpkin (kings and queens have to make a dramatic entrance, after all).

Waiting on Aslan

In the book, the Pevensies and Trumpkin encountered Aslan long before arriving at Aslan's How. But in the movie, Trumpkin took the kids to Caspian and even had a failed attack on Miraz (a scene which I heartily enjoy, despite having no precedent in the book) before putting their faith in finding Aslan finally. Maybe it's just the time of life I was in when I saw these movies (Prince Caspian helped me a lot with waiting to go back on my mission, just like Peter had to wait to go back to Narnia) but there's something deeper to me about the Narnians having to wait on Aslan repeatedly before he was ready to appear. Like Lucy said, "Maybe we're the ones who have to prove ourselves to him." The book had good lessons about faith too, but I loved the movie's version.

Caspian's Vengeance

While in the book the Narnians pledged themselves to Caspian quickly and he seemed to be blindly faithful to the kings and queens of old, the movie version showed all the harm and trauma he'd been through. Hated by his uncle, who tried to have him killed, only to be found by the Narnians who didn't want to trust him and to learn that Miraz had killed his father too... it's enough to get under any man's skin, never mind a teenager. So I liked how human Caspian was in the movie. He was flawed and impatient and it nearly drove him to resurrecting the White Witch (I love that she had a reappearance in the movie, instead of only being spoken about in the book). Unlike Peter, whose pride manifested as being over confident, Caspian's showed up in anger, wanting to claim what had been taken from him. But like the High King, Caspian also needed some humbling.

Like last time, tell me where the movie fell short and where you think the artistic liberties won out. And as with all Narnia posts...

For Narnia and for Aslan!

6 Scenes I'd Want in The Horse and His Boy

I’ve said before in at least one podcast episode and one blog post that The Horse and His Boy is my favorite book from The Chronicles of Narnia. It breaks my heart that this book has never been adapted into live-action. Rumors continue to stir about a Netflix series, but I can’t find anything refutable to support a series being actively developed. It’s sad because, while other book-to-movie adaptations in the franchise might be difficult to make exciting and action-filled, this book has plenty of exciting and emotional scenes to give the full package for a movie. And this list is just a few of the scenes that would be aesthetically and emotionally beautiful.

A Wayside Adventure

The chase driving Shasta and Aravis together could be action-packed and emotion-inducing, particularly if the viewer has never read the books. Mix in some chase music, akin to “Prince Caspian Flees”, and this scene would have viewers fearing for Shasta and Bree’s safety for sure.

At the Gates of Tashbaan

I would imagine this scene similarly to the breathtaking view of the Argonath from The Lord of the Rings. Mix in some majestic music, like the music from the opening ceremonies from Hunger Games, as the humans and horses enter the Calormen capital. But maybe something more fear-inducing, as Shasta was scared to get separated from the others.

Shasta Among the Tombs

This is one of those scenes from the book that resonated with me. Shasta felt scared and alone. All he had for comfort was a little cat (which turned out to be Aslan). A dimly lit view with a some melancholy, sad music would make this scene powerful. This scene might even make me cry if we ever get it on screen.

The Hermit of the Southern March

Again, this scene could use some music like "Prince Caspian Flees", but with some of Aslan's theme mixed in here. Yeah, the two kids needed to get away from Rabadash, but the majesty of Aslan chasing them would be wonderful. I'm imagining a shot like when Aslan ran to the White Witch's castle or when he attacked the Telmarine soldier in Prince Caspian.

The Unwelcome Fellow Traveller

Shasta's walk with Aslan is my favorite scene from the book. A calmer version of "To Aslan's Camp" would tug at the heart-strings. Something majestic with Aslan's theme to drive home the message that Aslan was with Shasta on his journey all along.

The Fight at Anvard

The Battle of Anvard was only seen from the Hermit's commentary in the book, but seeing it on the screen would give the viewer a chance to see the action first hand. The anticipation of Shasta being in danger and the fight against Rabadash (particularly when he got stuck) would be engaging. Add in some music like "The Battle" or "Battle at Aslan's How" (with something whimsical for Rabadash's mishap) would get my heart invested in this scene.

How Bree Became a Wiser Horse

Prince Cor’s entrance, returning to his friends with the Hermit, is a scene that I'd imagine with some Anvard variation of the Kings and Queens theme. Something strong and majestic, revealing him as Cor, not Shasta. 

Rabadash the Ridiculous

I imagine this scene having some mix of whimsy and reverence. As Aslan talks to the group, I'd imagine this scene would be very solemn. Definitely something with Aslan's theme. But as Rabadash turns into a donkey, we'd need some silly music to get us all laughing at Rabadash the Ridiculous, like the characters at the table.

Despite all my wishes to see The Horse and His Boy portrayed on screen, I won't hold my breath. Rumors have been floating around for years with no news. But a guy can dream. Maybe someday I'll get to see Shasta on screen and have a nice cry as I see him transform into Prince Cor.