Types of Fantasy


Naturally the Fantasy genre is, as per the quote below in addition to my own formidable experience, a vast thing whose limits expand and shrink in tandem with the imaginative capabilities of humanity. Hence Fantasy is not a single, compact literary genre but, rather, branches out into many sub-genres. Bestfantasybooks.com, which appears the be as complete a guide to the genre as there is (though with an apparent and disturbing Grimdark agenda), lists no less than 66 of these Fantasy sub-genres. This is overkill in my mind, for I have found that the overwhelming majority of the Fantastic can fit fairly comfortably into the 8 categories I have described below; fairly, because the first rule of Fantasy literature is that no rule is ironclad.


"At its best, fantasy rewards the reader with a sense of wonder about what lies within the heart of the commonplace world. The greatest tales are told over and over, in many ways, through centuries. Fantasy changes with the changing times, and yet it is still the oldest kind of tale in the world, for it began once upon a time, and we haven't heard the end of it yet." - Patricia A. McKillip


High Fantasy:
The “official” definition of the High Fantasy is typically defined either by its setting in an imaginary world or by the epic stature of its characters, themes, and plot. I, however, began the using the term on my own – without any prior knowledge of its previous coinage by Lloyd Alexander[1] – with a different meaning.
To me, the High Fantasy is any work of Fantasy defined/guided by the Spirit ofTolkien, regardless of setting or plot complexity. I judge J.K. Rowling’s Harry Potter series as a classic example of High Fantasy, for example, due to the undeniable moral fiber and the deep value placed in learning found at Hogwarts. And the often stressed point that love is the highest kind of magic (and the kind most worth fighting for). I suppose one could call it Heroic Fantasy, and many do call it such. It is just important to recall that the best kinds of heroes come in unconventional packages.
Other less famous examples (which do not fit the official definition) are The Starcatcher Trilogy by Dave Barry and Ridley Pearson, The Seraphina series by Rachel Hartman, and Hexwood by Diana Wynne Jones.


Medieval Fantasy:
In this I agree with the "official" definition; I just want to stress that High and Medieval Fantasy are not synonyms (at least, not in my mind).
This sub-genre, as far as I am concerned, encompasses near all Fantasy[2] that does not feature modern technology. This is the archetypal and awesome swords and sorcery, Dungeons & Dragons brand of Fantasy – drawing its inspiration straight out of mytho-history and imagination. The works of J.R.R. Tolkien are the classic, and in my opinion the best, example of Medieval Fantasy.
Other comparatively less famous examples are Alphabet of Thorn by Patricia A. McKillip, The Belgariad series by David Eddings, and the Ranger’s Apprentice Series by John Flanagan.


Contemporary Fantasy:
In this I again agree with the "official" definition: Contemporary Fantasy, or Urban Fantasy, is the opposite of Medieval Fantasy. Both sub-genres, however, may be of the High Fantasy (again stressing that High and Medieval Fantasy are not synonyms). Some refer to the sub-genre as Low Fantasy and, given my own definition of High Fantasy, I utterly reject this.
This sub-genre encompasses near all Fantasy[3] that features modern technology. This includes the Hidden World brand of Fantasy as well as a simple modern world setting with the addition of magic in everyday life. J.K. Rowling’s Harry Potter series as a classic example of Contemporary Fantasy, with the Wizarding World existing alongside yet hidden from ours (the Muggle World). This type of Fantasy is typically set in an at least quasi-modern urban environment. Another example might be the Narnia books, what with Narnia being a Parallel Universe and protagonists traveling to it from ours; I say might because the line blurs in this case.
Other comparatively less famous examples are The Secrets of the Immortal Nicholas Flamel series by Michael Scott, The Bartimaeus Sequence by Jonathan Stroud, and Deep Secret (and its companion The Merlin Conspiracy) by Diana Wynne Jones.


Historical Fantasy:
A relatively rare genre that I have limited experience in, Historical Fantasy is the mystical equivalent of Historical Fiction and a cousin of Contemporary Fantasy. In short, it is a Fantasy story set in actual world history – sometimes, but far from always, utilizes the Hidden World tradition. I generally like and have nothing against this sub-genre but, again, have seldom encountered it.
The two finest examples I can think of both take place during, and heavily feature, the Napoleonic Wars. These are Jonathan Strange & Mr Norrell by Susanna Clarke and the Temeraire series by Naomi Novik, the latter of which I have heard of (naturally) but not read.


Dark Fantasy:
I do not read Dark Fantasy, so I can say little here other than again agree with the "official" definition: a sub-genre of Fantasy which incorporates darker and frightening themes coupled with the use of a dark, gloomy atmosphere and/or a sense of horror and dread. It also often combines Fantasy with elements of horror. One could, perhaps, call it Gothic Fantasy.
As I avoid Dark Fantasy like the plague I can, again, say little. I do not know whether or not the sub-genre fits into the High Fantasy but, in general, the undercurrents of shadow and horror are enough to keep me away. Please note that I do not condemn Dark Fantasy; my avoidance of it is a matter of personal taste alone.
The only example of this sub-genre I can give are the works of Stephen King. I have not read them, but King’s fame and skill as a writer reached my ears long ago.


Grimdark Fantasy:
A younger, dark offshoot of High Fantasy, Grimdark Fantasy is markedly dystopian, amoral, violent, gritty, and filled with a bleak and twisted sense of humor. This relatively new sub-genre ism sadly, experiencing something of a renaissance thanks to the popularity of George R. R. Martin's A Song of Ice and Fire (i.e. A Game of Thrones). ASOIAF is considered to essentially be the founding Fantasy series of Grimdark, much as LOTR began the High Fantasy, and may justly be called an anti-Tolkien approach to Fantasy writing. Indeed, the Grimdark's main claim to fame is its usage of gratuitous and graphic scenes of bloodshed and sex, all of which is supercharged with profanity.
I, however, prefer to call it – both the sub-genre and GRRM's work Corrupted Fantasy and abhor the Grimdark with a passion (though I was once something of a fan). Read my GRRM the Anti-Tolkien page if you wish to learn why.


Quasi-Fantasy: 
Simply put, what I term Quasi-Fantasy are books which ordinarily would be Realistic or Historical Fiction if not for the magic someway squeezed quite comfortably into the story. My experience with these books are limited, but I have nothing against the genre. Two good examples of Quasi-Fantasy books are The Thief Lord by Cornelia Funke and The Tiger's Wife by Téa Obreht.
Other comparatively less famous examples are The Little White Horse by Elizabeth Goudge and The Wild Hunt of Hagworthy by Penelope Lively.
  

Science Fiction:
I do not read Sci-Fi and consider it to be a full genre in its own right, a cousin of but separate from Fantasy literature. Like Dark Fantasy, I avoid Sci-Fi like the plague, again due only to personal taste as opposed to condemnation. The limited exceptions are Star Trek and Star Wars.



[1] Author of The Chronicles of Prydain
[2] I say “near all” because there are always books that blur the lines, most notably (in my experience anyway) the works of Diana Wynne Jones.
[3] I say “near all” because there are always books that blur the lines, most notably (in my experience anyway) the works of Diana Wynne Jones.

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