The books' humour, which would eventually become character and situation-driven, here operates on the level of broad parody, lampooning the absurdities of many fantasy and fairy tale conventions. As such, they lack some of the sophistication one comes to expect from the series. 'The Colour of Magic' and 'The Light Fantastic' were written 25 years ago, when Pratchett was still finding his feet as a writer.

reality, the power of myth vs rationality, and the dichotomy of 'the falling angel and the rising ape'. Hogfather was Pratchett at his absolute height, mixing adventure with philosophical commentary and existential humour, the most mature expression of such Discworldly themes of imagination vs. Correctly in my view, he chose perhaps the archetypal novel in Pratchett's canon to adapt first. After the relative success of Hogfather in 2006, Vadim Jean decided to take the series in a surprising direction: backwards. Along the way, several fantasy (or perhaps D&D) conventions, such as talking swords, scantily-clad, Heavy Metal-style warrior women, and raging loin-clothed barbarians, are duly referenced and lambasted.

And that, without mentioning specifics, is the entire plot. He is assisted by his 'sidekick' Twoflower, who seems only dimply aware that he isn't on a packaged holiday. Set on a typical fantasy realm, replete with trolls, dwarfs and demons, they are, effectively, a parody of the hero's quest, in that the hero, an untalented 'wizzard' named Rincewind, has no intention either of being heroic or of going on a quest but ends up fighting monsters, riding dragons and trying to save the world anyway. The series adapts Pratchtt's first two novels, The Colour of Magic and The Light Fantastic, which together form a loose single narrative. Vadim Jean's second adaptation of Terry Pratchett's longrunning Discworld series of comedic fantasy novels cannot compare to the first, though it is not really his fault.

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