Fantasy from A to Z: Y is for Yearning

What kind of fantasy books do you hope to see more of in the next few years? What direction do you hope the genre goes next?

Personally, I would like to see the genre return to its roots. But that probably isn’t a surprise, if you’ve read the other blog posts in this series. I’ve invoked Robert E. Howard and J.R.R. Tolkien in almost all of them. Those two men are the grandfathers of modern fantasy: Howard from the sword & sorcery side, and Tolkien from the epic fantasy side. Until just the last few years, most fantasy authors stood on the shoulders of those great authors.

I’m not opposed to rules-based magic on principle. I do think that it can be done quite well, such as with Brandon Sanderson’s earlier work. But I would like to see a revival of more traditional fantasy magic systems, which aren’t really “systems” at all, but mysterious forces of nature rooted in folklore and mythology. With its overemphasis on game-like dynamics and quirky rules-based magic systems, much of modern fantasy seems to have lost sight of the ancient archetypes that gave the works of Tolkien and Howard their staying power.

As the modern world drifts further from its roots, forgetting all the stories that were handed down to us from countless generations past, so too has our fantasy lost sight of its roots, thinning out to the point where it’s little more than an aesthetic—a bundle of tropes and caricatures that evoke a nostalgia not of our pre-modern past, but of other popular fantasy stories. Thus, with each new work in this vein, the genre is diluted just a little bit more, becoming a pale shadow of what it once was.

That is why I would like to see fantasy return to its roots. I would like to see more fantasy that draws deeply from the well of history and mythology, not just to create an aesthetic, but to embed those themes and archetypes deeply into the story itself. I don’t care whether that mythology is European or not (though as a pan-European mutt, that is the culture that resonates most with me), but I do want to read books that do more than file the serial numbers off of another culture and wear it like a skin suit. 

It’s not so much that I’m worried about “cultural appropriation”—hell, as the son of medieval vikings, cultural appropriation is my culture—but if that’s what you’re going to do, you should damn right do it well. There’s a reason why we all got sick and tired of all the Tolkien clones. If we’re going to take fantasy back to its roots, we’ve got to do more than copy all the greats who came before us. We’ve got to understand, in a deep and visceral way, just what exactly they were trying to build, and then build upon it with something new.

Fantasy and science fiction are all about evoking that sense of wonder. Science fiction evokes that wonder by looking to the future; fantasy evokes that wonder by looking to the past. Our modern world has forgotten far too much of its cultural heritage. I want to see more fantasy that brings it back.

Get ready for the anti-AI witch trials…

Really interesting news story about an artist at Dragoncon who was forcibly removed from the convention, with the cops getting called and everything, for allegedly selling AI-generated art. So even though the artist bought the table and everything, the convention threw them out. It’s unclear whether the table was refunded, but I’m guessing it probably wasn’t.

Of course, as JDA rightly points out, if you do AI well then it’s impossible for anyone to tell whether it’s AI or human, so what this really does is set the precedent that merely accusing someone of using AI in their art is sufficient to cause serious damage to someone’s business. A lot of these artists make most of their money at conventions like this, and Dragoncon is one of the top-tier sci-fi media conventions, right up there with San Diego Comic-con and FanX Salt Lake.

How long is it going to take before an artist is falsely accused of using AI and ruined because of it? Has that already happened? How many more artists are going to be thrown out of conventions like this? How many artists are going to decide that it just isn’t worth it to attend these sorts of conventions, whether or not they use AI? How long before we find that some of the artists leading these witch hunts are themselves using AI to create their art?

In the end, when AI has been normalized and no one (not even in fannish circles) blinks an eye at AI-assisted art, we’re going to look back at this time with much the same dismay that we look back at the Salem witch trials. But that may not be for another ten or twenty years. Do we really need to go through all this madness first? This is why we can’t have nice things.

August reading recap

Not a ton of reading this month, since we were moving for most of it, but I still managed to finish (and DNF) a few books here and there.

Books that I finished

The Edible Ecosystem Solution by Zach Locks

Life 3.0 by Max Tegmark

The Rustlers of West Fork by Louis L’Amour

The Optimist by Keach Hagey

Passin’ Through by Louis L’Amour

The Revolt of the Elites by Christopher Lasch

Books that I DNFed

  • The AI Mirror by Shannon Vallor
  • Captain Vorpatril’s Alliance by Lois McMaster Bujold
  • Science Fictions by Ritchie Stuart
  • In Covid’s Wake by Stephen Macedo & Frances Lee
  • Girl on Girl by Sophie Gilbert

Why should a man be scorned?

Why should a man be scorned if, finding himself in prison, he tries to get out and go home? Or if, when he cannot do so, he thinks and talks about other topics than jailers and prison-walls?

J.R.R. Tolkien, “On Fairy Stories.”

Fantasy from A to Z: X is for eXpectations

What sort of books are fantasy readers looking for today? What are the expectations that readers have for the genre?

Overall, the fantasy genre is growing. Sales are up, both in traditional and indie publishing, and the big names in the field (like Brandon Sanderson) are doing quite well. It’s clear that the fantasy genre as a whole is robust and healthy.

When you break it down by publishers and subgenres, however, things start to look a little different. Romantasy is dominating the traditional publishing world, but most of it is little more than pornography for women, dressed up with fantasy trappings. And because of how traditional publishing now relies on a few big blockbusters to make most of their earnings, romantasy is sucking all of the oxygen out of the room, making it much more difficult for debut and midlist authors in the other fantasy subgenres.

In the world of indie publishing, litRPG has begun to demonstrate some staying power. It was the new hot thing back in the early 2020s, but it’s attracted enough attention and developed enough of a following that it has become a major subgenre that is likely to endure for some time. I could be wrong about that, but from what I see, that’s where most of the innovative authors and whale readers (ie >1 book per week) are focusing their attention these days.

But because of the way that the algorithms tend to govern the indie publishing cycle (and the way that indie publishing has unfortunately turned into a zero-sum, pay-to-play game with online advertising), the rise of litRPG in the indie publishing world may very well be sucking all of the oxygen out of the room in the same way that romantasy is sucking it out of the traditional publishing world. 

Both subgenres are also very gender-biased, with women gravitating toward romantasy and men gravitating toward litRPG. This reflects the broader social and political trend of men and women going separate ways, across a whole host of different metrics. So as the gender divide continues to widen in society generally, that will probably reinforce the divide between romantasy and litRPG, creating a positive feedback loop (or death spiral, depending on how you look at it).

Sword and sorcery continues to do okay, and has probably been given a boost by the recent release of Conan the Barbarian into the public domain. But most of sword and sorcery got siphoned off into grimdark back in the 00s—in fact, you could say that sword and sorcery reinvented itself as grimdark. And while grimdark has resisted the feminization of literature, standing as one of the few remaining bastions where male readers continue to feel at home, I think grimdark has already passed its peak. In a post-pandemic, post-Trump world, I think most readers are hungry for books that are less nihilistic and more uplifting.

Which brings us to epic fantasy. While Brandon Sanderson continues to dominate this subgenre, with his massive kickstarters and huge book releases, it’s debatable whether his readers are hungry for more epic fantasy, or just for more Brandon Sanderson. He’s kind of a subgenre all to himself. Recent streaming adaptations like Wheel of Time and Rings of Power have failed miserably, and Game of Thrones has fallen almost totally out of cultural significance, with George R.R. Martin’s failure to finish the last book (and Patrick Rothfuss’s failure to finish his own series) becoming something of a meme.

In fact, the failure of these two big-name authors to finish writing their books may have struck epic fantasy a mortal wound. Because of how they have been burned, a large number of epic fantasy readers are now unwilling to commit to a series until after it is complete. But very few authors can afford to write a truly epic series and release the whole thing at once. It takes several years to write a series like that—and what are authors supposed to do if the first one flops? 

In other words, debut epic fantasy authors are damned if they do, and damned if they don’t. If they release the first book by itself, it will probably sink into obscurity before they can write and release the next book. And if by some measure of hard work and tenacity they manage to write a whole series and hold back from publishing until they’re ready to release it all at once, if the first book still fails to sell, they’re SOL and all that hard work was for nothing. 

This is also why traditional publishers are so unwilling to publish a new epic fantasy series from a debut or a midlist author. A bestseller like Larry Correia might be able to dip his feet in that pond (and do quite well—I highly recommend his Sons of the Black Sword series), they won’t do that for anyone else. Which is fine, except that indie publishing epic fantasy is just as hard—arguably more so.

For these reasons, I don’t think it’s an exaggeration to say that Patrick Rothfuss and George R.R. Martin have done more to kill epic fantasy than they have to grow it.

But this may actually have created an opportunity for those authors who are willing to drive into the smoke. After all, there’s much less competition if you can manage to break in and build a decent following. But how much hunger is there for epic fantasy, compared to other fantasy subgenres? And how can a newer/midlist author reach them, without a big push from a publisher or the algorithms?

Epic Fantasy vs. LitRPG: 20 more principles that set them apart from other genres

So building on yesterday’s blog post, after asking ChatGPT to contrast litRPG against epic fantasy, I asked the AI to come up with twenty more principles that show how litRPG and epic fantasy are more similar to each other, by contrasting them against other genres. In other words, I asked for another twenty principles that either 1) hold true for both litRPG and epic fantasy, but not other genres, or 2) do not hold true for litRPG or epic fantasy, but do hold true for other genres. This was what the AI came up with.

What do you think? Do you agree with the list, or do you think the AI doesn’t know what it’s talking about? I mean, of course the AI doesn’t know what it’s talking about—it’s a pattern-matching stochastic parrot incapable of actual thought—but does the list itself hold true, or not? I’m interested to hear what you think!


✅ Ten Principles That Work in Both Epic Fantasy and LitRPG (but not as well elsewhere)

1. The Long Form Is an Asset

  • Epic Fantasy: Readers expect doorstoppers; sprawling stories add gravitas.
  • LitRPG: Readers binge long series to follow progression.
  • Other genres: Overly long novels (romance, thrillers) often feel padded or indulgent.

2. Worldbuilding as a Core Pleasure

  • Epic Fantasy: Intricate maps, languages, and histories enrich immersion.
  • LitRPG: Detailed mechanics, systems, and economies are part of the appeal.
  • Other genres: Too much worldbuilding bogs down the story (e.g., in mystery or romance).

3. Reader Dedication Is Assumed

  • Epic Fantasy: Readers accept investment to reap the mythic payoff.
  • LitRPG: Readers accept grindy arcs to enjoy progression.
  • Other genres: Casual readers often want quick satisfaction.

4. Hero’s Journey as Central Skeleton

  • Epic Fantasy: Growth from obscurity to legend is the core arc.
  • LitRPG: Growth from level 1 to overpowered is the core arc.
  • Other genres: Often resist the monomyth (slice-of-life, literary realism, etc.).

5. Community/Ensemble Casts

  • Epic Fantasy: Multiple POVs enrich the tapestry.
  • LitRPG: Party dynamics (tank, healer, mage) reflect RPG roots.
  • Other genres: Large casts risk confusing readers who want intimacy.

6. Spectacle as Payoff

  • Epic Fantasy: Climactic battles or magical revelations awe readers.
  • LitRPG: Dungeon raids and boss fights provide thrill.
  • Other genres: Spectacle without intimacy or brevity (like in romance) falls flat.

7. Maps and Charts Enhance the Experience

  • Epic Fantasy: Maps show kingdoms, trade routes, and lost ruins.
  • LitRPG: Stat sheets, skill trees, and quest logs scratch the gamer itch.
  • Other genres: Appendices and diagrams often feel extraneous.

8. Bingeability

  • Epic Fantasy: Readers want to sink in for weeks.
  • LitRPG: Readers tear through serialized arcs like binge-gaming sessions.
  • Other genres: Shorter, self-contained experiences dominate (rom-coms, thrillers).

9. Immersion Requires Internal Consistency

  • Epic Fantasy: Magic systems, politics, and cultures must feel internally real.
  • LitRPG: Mechanics and progression must follow consistent rules.
  • Other genres: Small cheats or contrivances are forgiven more easily.

10. The Fantasy of Escape Into Another Life

  • Epic Fantasy: Readers escape into a mythic, larger-than-life destiny.
  • LitRPG: Readers escape into a game avatar, empowered and free.
  • Other genres: Escapism is more muted—characters often mirror real-world constraints.

❌ Ten Principles That Work in Other Genres But Not in Epic Fantasy or LitRPG

11. Economy of Length

  • Epic Fantasy: Truncated stories feel shallow.
  • LitRPG: Short books cut off progression.
  • Other genres: Brevity (novellas, short novels) often thrives in romance, literary fiction, thrillers.

12. Standalone Closure

  • Epic Fantasy: Readers expect series and arcs across volumes.
  • LitRPG: Readers expect sequels and continuous leveling.
  • Other genres: Standalone novels dominate many markets (romance, crime).

13. Minimal World Detail

  • Epic Fantasy: Sparse settings break immersion.
  • LitRPG: Thin systems or game mechanics disappoint.
  • Other genres: Often better to focus tightly on character or conflict.

14. Immediate, High-Speed Pacing

  • Epic Fantasy: Readers accept gradual build-up.
  • LitRPG: Readers accept grind loops before climax.
  • Other genres: Quick, relentless pacing (thrillers) is a selling point.

15. Subtlety Over Spectacle

  • Epic Fantasy: Readers want grandeur, not quiet minimalism.
  • LitRPG: Readers want flashy abilities, loot drops, boss fights.
  • Other genres: Subtle slice-of-life or understated literary fiction works well.

16. Ambiguous Endings

  • Epic Fantasy: Readers want resolution—wars won, empires reshaped.
  • LitRPG: Readers want progression arcs to complete.
  • Other genres: Literary realism thrives on ambiguity.

17. Everyday Banality

  • Epic Fantasy: Mundane routine (work, school, dishes) feels like filler.
  • LitRPG: Grinding without purpose or progress feels like padding.
  • Other genres: Slice-of-life, contemporary drama thrive on the ordinary.

18. Romance as the Core Engine

  • Epic Fantasy: Love enriches but rarely drives the whole tapestry.
  • LitRPG: Love plots are secondary to leveling and quests.
  • Other genres: Romance is often the primary driver.

19. Prose Minimalism

  • Epic Fantasy: Readers want at least some richness, tone, and weight.
  • LitRPG: Readers want clarity and detail in mechanics, not Hemingway sparsity.
  • Other genres: Minimalist prose shines in lit fic or thrillers.

20. Compressed Timelines

  • Epic Fantasy: Readers want generations, years, or at least a long journey.
  • LitRPG: Readers want long campaigns and layered arcs.
  • Other genres: Stories that span a weekend or a single evening work beautifully in mystery, romance, lit fic.

⚖️ Big Takeaway

  • Shared Strengths (1–10): Both genres embrace immersion, scope, detail, and reader investment. They reward readers who want to live in another world for a long time.
  • Shared Weaknesses (11–20): Neither does well with brevity, minimalism, ambiguity, or everyday mundanity. Those principles thrive in other fiction but undermine the immersive, long-game experience of epic fantasy and LitRPG.

Epic Fantasy vs. LitRPG: 20 principles that work in one but not the other

So I was doing some genre research using ChatGPT, comparing epic fantasy (which I write) to litRPG (which I do not write—at least, not yet). After going back and forth for a while, I had ChatGPT list a bunch of principles that set each subgenre apart from each other. In other words, each of these principles holds true only for the one subgenre and not for the other.

It’s an interesting list. But being AI-generated, I’m not sure how much I can trust it, so I’d be interested to get your feedback. How true do you think these principles holds? Is it a pretty solid list, or are any areas where the AI got it wrong?


✅ Works in Epic Fantasy but Not LitRPG

1. Slow, Majestic Pacing

  • Epic Fantasy: Readers savor patience, waiting hundreds of pages for payoffs.
  • LitRPG: Readers expect regular “level-ups” or stat reveals—slow burns feel like stalling.

2. World as a Living, Breathing Character

  • Epic Fantasy: Setting is alive, with cultures, histories, and myth shaping events.
  • LitRPG: Worlds are often coded, constructed systems; too much “world-agency” risks breaking the conceit of “game mechanics.”

3. Archetypal Myth and Destiny

  • Epic Fantasy: Readers love prophecy, ancient bloodlines, and cosmic fate.
  • LitRPG: Players expect agency and control; prophecy undercuts the appeal of player choice.

4. Elevated, Poetic Language

  • Epic Fantasy: Slightly archaic or grand prose enhances the mythic atmosphere.
  • LitRPG: Readers expect clear, modern, accessible prose—too much ornament feels like “lag.”

5. Moral and Philosophical Depth

  • Epic Fantasy: Readers enjoy wrestling with justice, faith, and power.
  • LitRPG: Too much moral philosophizing slows down what should feel like gameplay and strategy.

6. Earned Heroism Through Suffering

  • Epic Fantasy: Heroes rise through sacrifice, scars, and loss.
  • LitRPG: Heroes rise by optimizing builds and winning battles. Too much suffering without progression feels like poor game balance.

7. History as Weight

  • Epic Fantasy: Ancient wars, dynasties, ruins, and forgotten myths enrich immersion.
  • LitRPG: History matters less than mechanics; world “backstory” is often secondary to the system’s function.

8. Layered Political Intrigue

  • Epic Fantasy: Kingdoms, councils, conspiracies—slow, strategic plotting excites readers.
  • LitRPG: Readers may skip political detail to get back to quests, loot, or progression.

9. Villains as Ideologies

  • Epic Fantasy: Antagonists often embody philosophies or cosmic balances.
  • LitRPG: Readers want enemies to be challenges, bosses, or rival players—not treatises on ideology.

10. The Reader Must Feel Small

  • Epic Fantasy: The awe of mountains, empires, or gods dwarfs the individual.
  • LitRPG: Readers want to feel powerful, not humbled—progression fantasy is about growth and mastery.

✅ Works in LitRPG but Not Epic Fantasy

11. Constant Tangible Progress

  • LitRPG: Frequent “dings,” new skills, and stat boosts scratch the gamer itch.
  • Epic Fantasy: Constant visible gains feel artificial—growth should be slow, hard-won, and often invisible.

12. Game-Like Structure

  • LitRPG: Clear quests, dungeons, XP, and loot tables create satisfying loops.
  • Epic Fantasy: Too much structure breaks the illusion of a living world—life doesn’t hand out quests so neatly.

13. Crunchy Mechanics

  • LitRPG: Readers relish stat blocks, skill trees, and optimization discussions.
  • Epic Fantasy: Overly mechanical explanations kill immersion—magic should feel mysterious, not like a spreadsheet.

14. Frequent Combat Encounters

  • LitRPG: Battles are core gameplay; readers expect frequent fights.
  • Epic Fantasy: Endless combat risks exhausting readers who want battles to feel rare, costly, and decisive.

15. Player Agency Above All

  • LitRPG: The protagonist must feel like a player making choices.
  • Epic Fantasy: Fate, prophecy, or the “burden of destiny” often guide characters beyond their control.

16. Meta Awareness

  • LitRPG: Characters can reference game mechanics, genre tropes, or player logic.
  • Epic Fantasy: Meta jokes break immersion—characters can’t wink at the audience about being in a story.

17. Loot and Rewards as Story Fuel

  • LitRPG: New gear and loot drops are story progression.
  • Epic Fantasy: Magical swords and treasures matter, but they’re rare, symbolic, and usually secondary to inner growth.

18. Episodic, “Grindable” Arcs

  • LitRPG: Dungeon runs, quests, and side missions can be modular and satisfying.
  • Epic Fantasy: Too episodic undermines the long-arc gravitas; the story must feel like a single tapestry.

19. Power Fantasy at the Forefront

  • LitRPG: Readers want to imagine themselves growing invincible.
  • Epic Fantasy: Too much power fantasy feels hollow—readers want awe and cost, not invincibility.

20. Immersion Through Familiar Systems

  • LitRPG: RPG tropes are comforting—readers enjoy seeing familiar mechanics at play.
  • Epic Fantasy: Familiar mechanics feel derivative—immersion comes from originality, history, and myth.

⚖️ The Big Picture

  • Epic Fantasy: Offers immersion in a mythic, awe-inspiring legend, with patience, gravitas, and weight. It humbles and uplifts.
  • LitRPG: Offers immersion in a game you can read, with momentum, mechanics, and constant progression. It empowers and energizes.

They share world immersion as a value—but diverge in what kind of immersion the audience craves: awe vs. agency, myth vs. mechanics, destiny vs. progress.

The sin that was so bad, the Bible barely mentioned it

I don’t usually post long-form podcasts on Sunday, but this one seemed appropriate (though I wouldn’t recommend listening to it if little children are around).

Ward Radio has been doing a lot of deep dives into the apocrypha & pseudopigrapha, and this one was particularly interesting, since the Bible barely touches on the sin of the antediluvians that was so terrible that God decided to send the flood. “But as the days of Noe were, so shall also the coming of the Son of man be.”

(As a companion episode, it’s also worth listening to this one where they talked about the true meaning of “nephilim” in Genesis, which is usually translated as “giants.” It’s probably not what you think!)