However, for the sake of integrity, I have to disagree with you about the use of Falcor in the novel and film versions of The Neverending Story. In that particular fairy tale style of story, Falcor works for the same reason that a fairy godmother works in a proper fairy tale (or Aslan works in the Narnia chronicles, most of which only make sense as fairy tales). In the story, Falcor functions expressly as an overt deus ex machina (the character all but refers to himself as one) specifically as a metaphor for the divine parent that Bastian the reader is still clinging to — which is why, towards the end of the movie, Atreyu loses Falcor and has to survive with almost everything around him dead, even the protection the universe once gave him. It reminds one not a little of the death of the Narrator in Sondheim’s Into the Woods.

Ootherwise, I agree with you about luck dragons. Frankly, I don’t how anyone but a Michael Ende or C. S. Lewis could handle one correctly, and even Ende used the tactic for one chronicle while Lewis used it as a metaphor for the Christ. In many ways, the success of Falcor in The Neverending Story serves as an example of the rare times when someone can get away with violating the rules that we all should follow almost every other time.

During the opening, players develop their pieces, protect their king, and set up future attacks.

Most of the action takes place during the middle game. Pieces are exchanged, plots are devised and foiled, and traps are set.

The game comes to a close during the endgame. After the dust has cleared the few remaining pieces fight it out for final victory.