The internet is fairly buzzing with the news that the Jim Henson company and an imprint of Random House are looking for a new writer to pen the next book in the Dark Crystal legacy. I may have seen the Author Quest page the day it was posted, I may have not, but it wasn’t long after starting that it was shuffled my way via Facebook. My heart flipped a little with the excitement of what could be done, and sank with the emptiness where a story could have sat, but didn’t yet exist. The truth is, I had fan fiction ideas for Labyrinth before I was tempted by any other material. Maybe it was David Bowie dancing in tight pants, or the dialogue between Sarah and the four guards in the (buh-buh-buh-BUM!) Certain Death riddle (OooOooOooo!), but it resonated with me in away I could cling to more easily, I think. However, as much as I consciously thought I loved Labyrinth more, Dark Crystal had already taken up a deeper residence in my psyche, biasing me toward the unlimited possibilities of that hazy realm between fantasy and sci fi it so effortlessly embodied.
One of the things I remember the most from my childhood and watching Dark Crystal was the Gelfling Wall of Destiny. There was so much timelessness buried in the carvings, this knowledge that a thousand years ago the wall had been carved by hands that knew the written word, by minds that understood the importance of recording history, it impressed on me the weight of ages and the fathomless passage of time marked occasionally by moments preserved in stone and prophecy. A monument against time and the transience of memory, a glimpse into the minds of the ancestors and a promise of what was to come, the Wall of Destiny was the single most important aspect of the Dark Crystal to me, and became the seed of everything I’ve poured into Eleasia, Prince of Darkness, and nearly every other project I’ve held most dear.
When I was old enough to really analyze what Jim Henson and Brian Froud had done with their team to develop Dark Crystal, I realized I wasn’t merely watching a good movie, I was experiencing everything behind the movie. To be specific, I could feel the influence of that special brand of fantastical sci-fi that was held over from the 1970′s; I felt the implied history of an ageless world with more whispered of off screen than could be expressed on; and, most recently, I felt the the sense of compulsory motion behind the actions of both the urRu and the Skeksis, which intrigued me most of all.
The opulent costumes of the Skeksis spoke of an almost vulgar level of flamboyance, each trying to outdo the others, but the faded lace and frayed hems spoke of a passage of time so great that all the posturing became a matter of course, happening by rote, not passion. They had the same arguments, the same shifting alliances repeating over and over as their pool of comrades dwindled to eight, and the dull-edged blade of madness crept into the isolation of their reality.
The urRu do not appear exempt from this decay, though their activities do seem more benign, as they made their sand paintings with an air of meditative repetition rather than guided intent, and tracked the movements of the stars, and recorded their thoughts in the fabric of their coats.
For both, life is an imitation of living, a compulsory existence of movement and action punctuated occasionally by moments of lucidity. They have spent so much time in their separate forms that the urRu and Skeksis have essentially reached a state of entropy, where memory of their origins and the why behind their actions has decayed to a point of equilibrium against the necessity to continue acting, because anything less would be to die, and I think enough of an urSkek spark remained to keep them clinging to routine so they could one day be made whole again.
I don’t have a plot just yet, and tonight I begin the adventure of The World of Dark Crystal, but I can tell you what will guide my hand throughout the writing process; paying homage to a man who never let the limitations of what others thought could be done define what he knew was possible. I write this for you, Jim. Thank you for never being anything other than who you were. You are, and always will be, my greatest hero.
I was too young when I fell in love with the Dark Crystal to have a life established enough on any course to have it changed when I was exposed to his work, so I can’t say he changed my life. What he did impart, or rather, what I took from his work, was the essence of what would help me define the shape I would want my life to take. Without his vision and passion available to me at the time, I don’t believe I’d be where I am today, passionate about my art, dedicated to writing more than a well-told sequence of events, and reading up every extent Dark Crystal book I could get my hands on to deepen my affinity for the vividly painted and desperately ancient world of Thra.
Yes, I am throwing my hat in the ring for the Dark Crystal’s Author Quest, and I encourage all of you to do the same, because without our adoration of this work it could not continue surviving and thriving thirty years later, and I firmly believe the world in which we let the Dark Crystal die is a hollow word of less wonder, magic, and beauty than our own.
I’m terrible about chronicling progress on anything, but this is one of those projects that sings deep inside me, like an urSkek song of surpassing beauty, sorrow, longing, and joy in need of expressing, but not entirely native to my senses, and if I can help anyone else discover the unique and earnest wonder of The Dark Crystal, and of Thra, and of Aughra, of the intrepid Gelfling, the tragic Skeksis, and the lonely urRu through my own exploration and self-discovery, then it will be all the more worthwhile in the end. With any luck, and maybe a little less procrastination, I’ll keep you apprised of the journey I take as I become a part of the world of The Dark Crystal, and the magic of Thra.