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our imaginations. “For believable characters to exist,” writes Mark Darrah, executive producer of the Dragon Age fantasy franchise, “they need a believable world. This goes beyond the ground they stand on” (in Gelinas and Thornborrow 2015, 9). As the house lights dim, then, as the television warms up or the video game loads, as the first page is turned, consider just a few of the ways in which we create magic, monsters, and make-believe heroes, the sine qua nons of fantasy culture and the mythic imagination. “this is no game . . .”: dungeons & dragons Narrator

. New York: New York University Press, 2005. Chapman, Gary, and Tony Rankin. A Student’s Guide to the Five Love Lan- guages: True Love Waits. Nashville, Tenn.: LifeWay Press, 2003. Chevapravatdumrong, Cherry. “Prick Up Your Ears,” television episode of The Family Guy directed by James Purdom. New York: Twentieth Century Fox, November 19, 2006. Cole, Sean. “With This Ring: Pledging Abstinence.” Radio broadcast on Inside Out, Anna Bensted, executive producer. Boston: WBUR, 2004. www Condit, Celeste. Decoding Abortion

hijackers had actu- ally been on the planes. And, fi nally, there was $167,000,000,000 in gold in vaults below the World Trade Center, only a fraction of which had been recovered—presumably offering a motive.11 Two years after the fi rst version, when Loose Change Final Cut appeared, there were signifi cant additions to the credits. Alex Jones, perhaps the country’s premier purveyor of conspiracy theories, was now listed as executive producer, and David Ray Griffi n as script con- sultant. Motifs of government cover-up and the implication that the government was