It’s been said and shown a thousand times: at Hitek, we are big fans of fantasy. But we are also not fooled by the limits and tropes too often used in this genre. This is why, after our article on the biggest nags of the genre (which you can rediscover here), we are coming back this time to what are (in our opinion) the 8 worst clichés in fantasy:
#8 The prologue text that teaches you nothing
The written prologue that scrolls on the screen at the start of fantasy films or series has become a cliché unavoidable and, now, often deeply irritating. This text, supposed to lay the foundations of a rich and complex universe, frequently falls into the trap of an overdose of heavy and ultimately useless information. Whether it is to tell us yet another mythology of creation or summarize an age-old conflict between the forces of good and evil, it fails to captivate and gives the viewer feels like he has to read an instruction manual before diving into the story.
This trope, popularized by Star Wars but taken to excess in less inspired works, seems today a script crutch. Rather than showing the universe or letting the viewer discover it through the characters, we drown it under a flood of information. The prize of the genre goes to the saga Star Warsnotably the episodes VII et IX, Who are content to quickly throw out the stakesthus avoiding introducing them in a logical or credible way into the lore. (Note that this also works with the introductory voice-over).
#7 Very cool sidekick and bad boy with a big heart
The “too cool” sidekick who accompanies the hero in his quest has become a worn-out cliché, to the point of being annoying. This character is always a charismatic outsider, full of “flaws” which actually make him irresistible: he’s arrogant, sarcastic, a bit rebellious, but his heart is obviously on the right side of the moral scale. Han Solo (Star Wars), Madmartigan (Willow), or even Jack Sparrow (Pirates of the Caribbean) embody this figure seen and reviewed a thousand times.
The icing on the cake is that this shot has very little variation: this supposedly imperfect anti-hero always ends up siding with the “good guys” and becomes the hero’s best ally, while stealing the show thanks to his humor or his charm. This trope is all the more annoying because it only works in fiction. Concretely, an arrogant guy who looks down on you, talks to you like a dog and who, on top of that, seems to be involved in shady activities… well, you do not hire him as a guide or driver to bother you during a journey of several thousand kilometers.
#6 A universe that never evolves
Fantasy universes are often marked by clichés about political-religious organization, which lack renewal and become annoying over time. One of the biggest flaws is the immobility of societies, which seem frozen for millennia. Languages, customs, political systems, even caste and ethnic systems, remain identical, with no apparent change. For example, a medieval society almost always turns into a replica of the Middle Ages earthly, with an immutable social hierarchy, absolute monarchs and an influential clergy, often caricatured as evil incarnate. But how, after several millennia of oppression, could these societies not have never generated revolutions or experienced the slightest evolution?
On the other hand, in these worlds, the inhabitants must live with the threat of giant monsters on a daily basis, supernatural elements that can cause them a thousand different problems, but no authority really seems to take this into account. One has the impression that all these generic kingdoms could write as a motto under their coat of arms: “C’est la vie”. Finally, this kind of universe is often depicted as using a rudimentary technology which nevertheless stagnates indefinitely. Obviously, we find ourselves in worlds where no one wants to suffer less at work or to be cared for in a place other than a battlefield, a bed made of straw placed in an unsanitary room or a manure pit.
#5 Elves, Dwarves or Orcs: populations without nuances
Clichés about populations and ethnicities in fantasy universes have become deeply annoying and predictable. Orcs, Elves, Dwarves and other fantastical creatures are soften reduced to homogeneous stereotypes that never evolve. Elves are graceful and perfect, Dwarves are gruff and taciturn, while Orcs are violent and brutal. Although practical, these narrative shortcuts do not seem really realistic. Humans can aspire to be musicians or berserkers, become obese or skinny, be pleasant or unpleasant; on the other hand, if you are a Dwarf, you will be bearded, grumpy, miner, blacksmith or, at best, good at creating mechanical devices. And then, apparently, luck if you are an Elf, because there is never an Elf who is hunchbacked, lame or born with a hare lip.
#4 No shades of gray
In fantasy stories, the representation of evil is too often reduced to a single archetype : an absolute antagonist, without nuances, motivated solely by the desire to destroy the world or dominate the universe. This type of “dark lord” is frequently portrayed as evil for no real reason, simply because he embodies evil to oppose good. This simplistic dichotomy between “good” and “bad” ends up making the stories predictable and lacking in depth. Villains become caricatures, devoid of complexitytheir only motivation being to harm for pleasure or to rule without any real purpose. We even begin to be curious to see them one day succeed in their plan. Because hey, Dark Bidule, once you have destroyed the world and/or awakened the ancient demon of the prophecy… What is the plan, anyway?
Worse still, some magical races, like Orcs or Elves, are often represented as exclusively good or bad, reduced to a stereotypical role that prevents any form of diversity or moral ambiguity. However, it is also interesting to note that the opposite can be just as tiring and devoid of surprise : for example, for several years, all the villains must have a trauma that made them this way and find some form of redemption before the end of the film. There too, once is nice, but in every movie it becomes a new cliché just as infuriating as the lack of nuance.
#3 Words and dialects invented for no reason
JRR Tolkien may not have completely invented the fantasy genre, but he clearly revolutionized it. Lord of the Rings and the numerous stories that surround it are today a reference that is still very much alive for any author focusing on the genre, and it is entirely legitimate and understandable to be inspired by such a work. However, not everyone is Tolkien. The trilogy of Lord of the Rings was written over more than 17 years, and this writing itself is the fruit of decades of work and research. Tolkien was a university professor with a passion for ancient folklore and a scholar fluent in many languages. So when Tolkien takes the time to create different languages for groups of Elves, Dwarves, or even certain creatures, it makes sense. At its level, it’s even a game, but it’s clearly not a must for the genre.
Today, we are either faced with worlds where everyone speaks impeccable English, or worlds where we proudly explain to you that we have consulted we don’t really know which pseudo-expert who was paid a fortune to invent around ten key phrasesall so that in the end a secondary character arrives to play the translator. It lengthens the scene and everyone doesn’t care about this language, which is little more than a promotional gimmick. In the same genre, there is also the invention of terms to define objects or characters having an equivalent in our world and which only artificially weigh down the whole thing. Concretely, it is not because in your lore a lieutenant or captain is a “roftyru” (word found by typing at random on the keyboard) that it will really change our vision of the proposed story.
#2 Magic and prophecies used as a handy trick
As fascinating and attractive as the magical element in fiction is, it is nonetheless treated over the top in most stories. Magic then becomes an easy solution, justifying anything and everything without any real narrative effort. Too many stories rely on magic items luminous or powerful spells to resolve conflicts, without ever explaining how these elements actually fit into the world. Magic becomes a gadget, a kind of “easy button” that erodes dramatic tension.
And when magic, powers and other powerful artifacts have been worn out too much, there remains the last joker: the prophecy. Systematically carried out if it is in favor of good, systematically foiled if it favors evil, these poor prophecies serve as a lazy excuse to guide the plot, as if destiny were an implacable mechanism making the choices of the characters insignificant. And even there, some manage to get their feet caught in the carpet, like the endless debate over the prophecy of the Chosen One in Star Wars, opposing those who think that the Chosen One is Anakin, Luke, or even some supporters of poor Rey, who didn’t ask for so much.
#1 The Chosen One!!!!
Well, here we are going to break open doors, but we cannot cut them. Yes, the principle of the Chosen One who will save the world is surely “THE” worn-out cliché, become difficult to bear. Theorized, dissected and over-analyzed since the second half of the 20th century by authors as influential as Joseph Campbell and Christopher Vogler, the concept of the chosen hero has frankly aged poorly.
This Chosen One, the pivot of many fantasy works, is now a hackneyed cliché. and irritating. The orphaned peasant who turns out to be the hidden son of this or that ultra-important character of the lore, or simply the one born on an eclipse evening with a not-disgusting horoscope and prophesied savior of the world… Too many films and series constantly recycle these same narrative patterns. No need to say much more: We’re pretty sure you already have too many examples in mind.
And if you liked this article, you can also discover our previous tops on fantasy films which flopped at the box office but which urgently need to be rediscovered (parts 1, 2 and 3), or our Fantasy selections The 5 biggest jokes to rediscover or Dark Fantasy: the 10 best works of the genre.
