The Progressive Hijack of Fantasy

They are attempting to hijack fantasy. Of course you knew this. You knew it deep down even before a children’s series of books about wizards became the social justice tour de force. You knew it even before you had to endure pointless hours of debate about Game of Thrones characters and the horror porn. Even among the hold-outs, the original LOTR films, now there are concerted campaigns to make sure enough brown skins grace the film sets, lest the ever rising tide of color feel left out. Amazon have bought the rights to make a GoT esque LOTR universe TV series, and you know it will be another medium for them to convey their poz ideology.

Why though? Fantasy has far more often been the realm of the soft-traditionalists. Where SciFi authors write progressive screeds and promote advanced degeneracy, fantasy authors used to carry the torch for tradition. To quote a friend “it is a genre of literature explicitly orientated by an intentional creative engagement with tradition“. Fantasy speaks on a deep level to us in the West, these tales of magic and heroes have been with us for generations. The roots of modern fantasy lie in our shared mythology. That mythology includes many pantheons, the most prominent being the Greek and Norse. From there we advance towards other great mythological tales such as Beowulf. We have King Arthur and his Knights of the Round Table, we even have more recent folk-heroes like Robin Hood. For as much as they desire to paint Robin Hood as some anti-monarchist, socialist figure, Robin of Locksley is always fighting and awaiting the return of the rightful King from the Crusades.

Fantasy writing is largely born out of this rich set of stories. Stories with a defined structure that is alien to progressivism at their very core. They tell effective stories of right and wrong. They provide guidance to unruly children by way of Grimm’s fairy tales. These stories have been with Western man for a very long time, and this ultimately is why the progressives are attempting to insert their ideology into the fantasy realm and hijack it.

The very narrative of mythology and by extension most fantasy books sits at odds with the modern progressive world. That is why you have such strong attempts from the likes of Game of Thrones to inject themselves into this genre. They do not have strong plots that tell a compelling story, but are rather driven by weak character arcs – this ultimately appeals to the individualist self-serving common man of today far more than the heroic story of yore. This melding of historical fantasy with modern means saw great success – people felt drawn towards the pure elements of the show but ultimately became obsessed with incredibly modern narratives. Their ‘yass kween’ of dragons, liberator of slaves was a perfect testament to this. But what was the actual story of the show? Who was the villain? The entire series danced around this idea that monarchy was bad, the ultimate fantasy element of the show, a dragon symbolically burning away the throne. But how then did it end? The queen was dead. An autist was king. A rightful heir sacrificing his claim to patrol the border. Despite all the strong womyn monarchs. it ended with a King.

The destruction of the old order has always been part of the totalitarian plot. The Communists, because they lasted longer, were more successful at this than the Nazis but both groups had a strong interest in educating the young in a new mythos. Stories like that of Pavlik Morozov became outright propaganda designed to re-educate the youth. Bring them to a newer understanding, more loyalty to the State and their ideology. The propagandists of yesterday would weep with envy at the apparatus at the disposal of the propagandists today. It is not merely the state controlled media who broadcast their ideology it is everyone in what passes for the modern intelligentsia. There are a few holdouts of course but the entire discourse of modern entertainment is framed in the terms of the progressive death cult. Each popular series of our time serves to illustrate elements of this. Now they have turned their eye to breaking down the old order of fantasy. They seek to manipulate and destroy this form of story telling.

The propagandists of our time are not stupid, they understand that manipulating the fantasy genre can bear fruits. Just look at the Harry Potter series, the world building and links to an imagined ‘better past’ were the perfect vehicle for an author who turns characters into homosexuals any time she chooses. Ctuhulu swims ever leftward and it is not my intent to claim all fantasy has been written by ‘our guys’ invested in preserving tradition and telling epic stories, however more often than not it serves as a vehicle for that all important soft-tradition. It speaks to a world where Good and Evil are absolute things, not soft grey boundaries. It gives us definitive stories of becoming, of the return of rightful Kings. No matter much they try to hijack these stories some elements will forever remain true to the Good and the Beautiful.

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