The adaptations – the short Welcome to the Discworld (1996) and the series Soul Music (1997) and Wyrd Sisters (1997) – largely revolved around one of Discworld’s most popular characters, a skeletal personification of death (voiced by Christopher Lee) who cuts rather a benign figure, simultaneously fascinated and baffled by the human-like residents of Discworld. Several of the books, or parts of them, were adapted as animated television series by Channel 4 in the late 1990s, the animation being handled by Cosgrove Hall, creators of many a much-loved British television series, among them Chorlton and the Wheelies (1976-1979), Jamie and the Magic Torch (1976-1980), Danger Mouse (1981-1992), The Wind in the Willows (1984-1987), Count Duckula (1988-1993) and many, many more.
The Colour of Magic (which Pratchett described as “an attempt to do for the classical fantasy universe what Blazing Saddles did for Westerns”) kicked the series off in 1983 and before his death in 2015 he published a further 40 novels a handful of short stories and even a few non-fiction books expanding on his ever growing and increasingly popular creation. His books were often comic in nature and his most popular work remains the series chronicling the Discworld, a huge flat disc floating through space on the backs of four giant elephants which, in turns, stand on the shell of a god-like star turtle Great A’Tuin. Indeed, in the 1990s, Pratchett was the best-selling British writer of any genre, selling over 85 million books in 37 languages. Rowling whose work is clearly indebted to his vast body of work.
For many years, Terry Pratchett was Britain’s foremost writer of fantasy fiction, until the rise of J.K.
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