As a genre, fantasy has been around for as long as human imagination has dared to dream of what could be in realms where the typical laws of nature do not apply. However, a subgenre which blends the fantastical with stories of love has begun to dominate the field: romantasy. Romantasy, exemplified by such novels as A Court of Thorns and Roses by Sarah J. Maas, presents readers with high-stakes love in the midst of magic. And while its audience continues to grow, there are some who call into question the prevalence of certain tropes and the sort of characters they champion. There have been numerous comments about the standard qualities of romantasy: a title similar to A Court of Thorns and Roses, the famous romantic cliches like “enemies to lovers,” the centrality of women. While sometimes cast in a negative light, these aspects are actually advantages of the genre, contributing to its rising popularity.
Recurring plotlines and character types are presented by critics as negative traits. In general, readers expect new ideas to be introduced in the different books they read. Romantasy flies in the face of that assumption. Everything about the genre is repetitive, down to the very formula of their titles and covers. Yet, fans flock to stores to purchase these works. As much as it seems to be a bad characteristic, the repeated tropes within romantasy are a main factor in the genre’s expansion. Choosing a new book is always difficult, most especially because of the worry that your pick will turn into a dud. Though it may seem counterintuitive, the familiarity of romantasy makes it an easy choice. Readers know exactly the sort of material they will be buying. Not only is it reliable, but this reliability creates a comfortability surrounding the books. The specific patterns of romantasy make for a safe haven of sorts. When someone decides to purchase a romantasy novel, they are assured of staying within a bubble of coziness. It is beloved because it is known.
However, plenty of other genres exhibit their own tropes as well, making it necessary that another component of romantasy’s popularity be addressed: women. This is not just a reference to the fact that there are women in romantasy novels, but that women are the driving forces within them. When modern readers think of fantasy, they imagine the most famous characters: Harry Potter, Bilbo Baggins, Percy Jackson, among other male protagonists. Though women are present in these franchises, they are often sidekicks and assistants. Hermione helps Harry, Eowyn and Galadriel further Bilbo along in his quest, Annabeth Chase aids Percy in his great purpose. All of these characters are included as additions to the plot, not central forces. Romantasy is almost purely built upon women. Women’s abilities are the combatants against dark powers and women’s choices are the reasons for romantic progression. Furthermore, because of the essential presence of women in romantasy, their inclusion is not simply to check a box. So often in literature and media, we are left wondering if the incorporation of characters is genuine or just a ploy to satisfy certain expectations, with no intention of further depth. Romantasy doesn’t have room for such misgivings, because women are the foundation of the genre.
This isn’t to say that romantasy is perfect. Its female characters are sometimes accused of falling into the trap of having no flaws at all, making women into idealized demi-gods. While this is the case in some instances, the important thing to emphasize is that these characters are written by women. They are the product of female creative power, and they are often made with the goal of exploring feminist themes in worlds where such themes can be realized to full potential. In this way, characters in romantasy do often possess in abundance those traits that women deem most desirable: strength (physical, emotional and intellectual), determination and a will of their own. If this does occasionally result in an overly-powerful woman, then consider that character as the embodiment of the author’s most extreme fantasies as they impose their own idea of a perfect woman onto their writing. The important element is that there is a space for female writers to mark a genre as completely their own. The room is made for women to fully express themselves by unsettling the conventions used so often in fantasy books.
Romantasy shows no signs of slowing down. Publishers are being flooded with more and more works aligning themselves with the growing phenomenon. While it may be easy to dismiss the properties represented in the genre, labeling the books as repetitive or the authors as unrealistic, it is important to acknowledge the inroads being made as romantasy takes over bookstores’ shelves.
Jane Locke is a freshman in the College of Arts & Sciences. She can be reached at [email protected].