History Main / Marysuetopia

6th Dec '17 3:37:26 PM nombretomado
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* ''DancesWithWolves'''s [[IncrediblyLamePun merry Sioux]] are a GaryStu-topia. They're communists, [[FanDisservice have no sexual hangups]], and the sheer amount of male solidarity, while reflecting traditions, is taken to extremes, though ''not'' to the extreme of misogyny. They're also completely friendly to anyone, even the white men trying to kill them, as contrasted with the AlwaysChaoticEvil Pawnee, who even attack their white ''allies''.
* In ''Little Buddha'', the King attempts to invoke this when his son, the Prince Siddhartha decides to leave the palace to learn more about the world. The whole city seems to live in the same splendor the Prince does, so it seems like he has no reason to leave his home... until Siddhartha sees a poor beggar wander into the crowd who is then hauled away by the guards. This revelation about the world is one of the things that causes Siddhartha to begin a journey that will ultimately lead him to become the Buddha.

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* ''DancesWithWolves'''s ''Film/DancesWithWolves'''s [[IncrediblyLamePun merry Sioux]] are a GaryStu-topia. They're communists, [[FanDisservice have no sexual hangups]], and the sheer amount of male solidarity, while reflecting traditions, is taken to extremes, though ''not'' to the extreme of misogyny. They're also completely friendly to anyone, even the white men trying to kill them, as contrasted with the AlwaysChaoticEvil Pawnee, who even attack their white ''allies''.
* In ''Little Buddha'', ''Film/LittleBuddha'', the King attempts to invoke this when his son, the Prince Siddhartha decides to leave the palace to learn more about the world. The whole city seems to live in the same splendor the Prince does, so it seems like he has no reason to leave his home... until Siddhartha sees a poor beggar wander into the crowd who is then hauled away by the guards. This revelation about the world is one of the things that causes Siddhartha to begin a journey that will ultimately lead him to become the Buddha.
30th Nov '17 3:36:28 PM HighCrate
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* The world of [[IncrediblyLamePun Unicornicopia]] from ''Fanfic/MyBravePonyStarfleetMagic''.

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* %%* The world of [[IncrediblyLamePun Unicornicopia]] from ''Fanfic/MyBravePonyStarfleetMagic''.
30th Nov '17 3:01:51 PM hubakon1368
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* The world of [[IncrediblyLamePun Unicornicopia]] from ''Fanfic/MyLittleUnicorn''.

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* The world of [[IncrediblyLamePun Unicornicopia]] from ''Fanfic/MyLittleUnicorn''.''Fanfic/MyBravePonyStarfleetMagic''.
27th Nov '17 8:36:05 AM HighCrate
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[[folder:Multiple Media]]
* "Classic" Americana[[note]]works from between roughly the First World War and Vietnam, though works aimed at children continued for much longer in both directions[[/note]] portray [[{{Eagleland}} the United States as this trope]]. In such stories, the goodness of the U.S. of A. is not only self-evident, but fractal: not only is the government totally free of corruption and everybody equal before the law (with racism and other forms of discrimination utterly nonexistent), but all citizens are patriotic and impeccably polite to everybody, with the most disrespectful children ever getting being playing harmless practical jokes on people. Absolutely nobody is shown below the poverty line, and since everyone has a living wage, clearly all corporations must be completely benevolent, always founded by self-made men, and never influence the government or vice-versa. In these kinds of stories it's often taken for granted that wars, civil unrest, prejudice, and human rights violations only happen in other countries, and the implication is that those problems would go away altogether if America took over the world. Despite other countries frequently being depicted as still stuck in the Dark Ages, there is never any negative feeling against immigrants to the US. The upshot of this is that [[MoralGuardians some people]] think the US has declined since the time when this trope was dominant when in reality America is just portrayed more realistically, [[RuleOfCautiousEditingJudgment and that is all that shall be said]]
[[/folder]]
27th Nov '17 8:35:53 AM HighCrate
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* Gallia of ''VideoGame/ValkyriaChronicles'', where everything is wonderful because they're sitting on the world's largest deposits of [[GreenRocks ragnite]], which is implied to be the cornerstone of the world's ability to function and thus means Gallia is amazingly well-off in the global economy. We're told that the major cultural problem in Gallia is racism against the Darcsen race, but this is solved by the end of the game when [[spoiler: the Princess is revealed to be Darcsen and doesn't lose the approval of her people,]] and nearly all the racist Gallian characters either learn the [[CharacterDevelopment error of their ways]] or [[MindRape have their personalities corrected]]. The game does an excellent job of making the player [[VideoGameCaringPotential as invested in Gallia's safety]] as the characters are, but Gallia itself is the literal moral high ground that the main cast stands on. Then again, the main conflict of VideoGame/ValkyriaChroniclesII is a coup made by racist nobles to dethrone the Princess and racially purge the Darcsens. And even the people opposed to the coup are often prejudiced, such as the military academy the protagonist attends where any and all Darcsens are assigned to the bottom class regardless of competence and several playable characters, though most of them can [[CharacterDevelopment learn to get over it]] all save for the Imperial foreign exchange student. And it isn't until VideoGame/ValkyriaChroniclesIII that one actually sees the first signs that Gallia [[CrapsaccharineWorld isn't as great as it's cracked up to be.]]
** FridgeBrilliance kicks in with all three titles once you realise that you're reading a ''[[TitleDrop Chronicle]]'' - namely, a PropagandaPiece written after the events of the stories. It's quite likely that the author of the books [[PoliticallyCorrectHistory deliberately whitewashed the unpleasant bits of the story]], since showing Gallia and the events within as anything but perfect would bring down the wrath of the [[ThoughtCrime government's censors]] (who, incidentally, are shown in the games to be quite zealous - see the ''[[IntrepidReporter Writing on the Wall]]'' sections in the first game).

to:

* Gallia of ''VideoGame/ValkyriaChronicles'', where everything is wonderful because they're sitting on the world's largest deposits of [[GreenRocks ragnite]], which is implied to be the cornerstone of the world's ability to function and thus means Gallia is amazingly well-off in the global economy. We're told that the major cultural problem in Gallia is racism against the Darcsen race, but this is solved by the end of the game when [[spoiler: the Princess is revealed to be Darcsen and doesn't lose the approval of her people,]] and nearly all the racist Gallian characters either learn the [[CharacterDevelopment error of their ways]] or [[MindRape have their personalities corrected]]. The game does an excellent job of making the player [[VideoGameCaringPotential as invested in Gallia's safety]] as the characters are, but Gallia itself is the literal moral high ground that the main cast stands on. Then again, the main conflict of VideoGame/ValkyriaChroniclesII is a coup made by racist nobles to dethrone the Princess and racially purge the Darcsens. And even the people opposed to the coup are often prejudiced, such as the military academy the protagonist attends where any and all Darcsens are assigned to the bottom class regardless of competence and several playable characters, though most of them can [[CharacterDevelopment learn to get over it]] all save for the Imperial foreign exchange student. And it isn't until VideoGame/ValkyriaChroniclesIII that one actually sees the first signs that Gallia [[CrapsaccharineWorld isn't as great as it's cracked up to be.]]\n** FridgeBrilliance kicks in with all three titles once you realise that you're reading a ''[[TitleDrop Chronicle]]'' - namely, a PropagandaPiece written after the events of the stories. It's quite likely that the author of the books [[PoliticallyCorrectHistory deliberately whitewashed the unpleasant bits of the story]], since showing Gallia and the events within as anything but perfect would bring down the wrath of the [[ThoughtCrime government's censors]] (who, incidentally, are shown in the games to be quite zealous - see the ''[[IntrepidReporter Writing on the Wall]]'' sections in the first game).
26th Nov '17 9:29:36 PM TechPriest90
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* Gallia of ''VideoGame/ValkyriaChronicles'', where everything is wonderful because they're sitting on the world's largest deposits of [[GreenRocks ragnite]], which is implied to be the cornerstone of the world's ability to function and thus means Gallia is amazingly well-off in the global economy. We're told that the major cultural problem in Gallia is racism against the Darcsen race, but this is solved by the end of the game when [[spoiler: the Princess is revealed to be Darcsen and doesn't lose the approval of her people,]] and nearly all the racist Gallian characters either learn the [[CharacterDevelopment error of their ways]] or [[MindRape have their personalities corrected]]. The game does an excellent job of making the player [[VideoGameCaringPotential as invested in Gallia's safety]] as the characters are, but Gallia itself is the literal moral high ground that the main cast stands on. Then again, the main conflict of VideoGame/ValkyriaChroniclesII is a coup made by racist nobles to dethrone the Princess and racially purge the Darcsens. And even the people opposed to the coup are often prejudiced, such as the military academy the protagonist attends where any and all Darcsens are assigned to the bottom class regardless of competence and several playable characters, though most of them can [[CharacterDevelopment learn to get over it]] all save for the Imperial foreign exchange student.

to:

* Gallia of ''VideoGame/ValkyriaChronicles'', where everything is wonderful because they're sitting on the world's largest deposits of [[GreenRocks ragnite]], which is implied to be the cornerstone of the world's ability to function and thus means Gallia is amazingly well-off in the global economy. We're told that the major cultural problem in Gallia is racism against the Darcsen race, but this is solved by the end of the game when [[spoiler: the Princess is revealed to be Darcsen and doesn't lose the approval of her people,]] and nearly all the racist Gallian characters either learn the [[CharacterDevelopment error of their ways]] or [[MindRape have their personalities corrected]]. The game does an excellent job of making the player [[VideoGameCaringPotential as invested in Gallia's safety]] as the characters are, but Gallia itself is the literal moral high ground that the main cast stands on. Then again, the main conflict of VideoGame/ValkyriaChroniclesII is a coup made by racist nobles to dethrone the Princess and racially purge the Darcsens. And even the people opposed to the coup are often prejudiced, such as the military academy the protagonist attends where any and all Darcsens are assigned to the bottom class regardless of competence and several playable characters, though most of them can [[CharacterDevelopment learn to get over it]] all save for the Imperial foreign exchange student. And it isn't until VideoGame/ValkyriaChroniclesIII that one actually sees the first signs that Gallia [[CrapsaccharineWorld isn't as great as it's cracked up to be.]]
** FridgeBrilliance kicks in with all three titles once you realise that you're reading a ''[[TitleDrop Chronicle]]'' - namely, a PropagandaPiece written after the events of the stories. It's quite likely that the author of the books [[PoliticallyCorrectHistory deliberately whitewashed the unpleasant bits of the story]], since showing Gallia and the events within as anything but perfect would bring down the wrath of the [[ThoughtCrime government's censors]] (who, incidentally, are shown in the games to be quite zealous - see the ''[[IntrepidReporter Writing on the Wall]]'' sections in the first game).
28th Oct '17 9:48:42 AM HighCrate
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See also CrystalSpiresAndTogas, PerfectPacifistPeople, UtopiaJustifiesTheMeans, and {{Utopia}}. Contrast with {{Dystopia}}, and QuirkyTown. When a RealLife society is portrayed as this, itís PoliticallyCorrectHistory or PatrioticFervor, and the first flavor of {{Eagleland}} is a subtrope. The polar opposite of CrapsackWorld. Compare AlternateHistoryWank. Mary Sue ''Dys''topias which are unrealistically efficient may shade into being NoDelaysForTheWicked.

to:

See also CrystalSpiresAndTogas, PerfectPacifistPeople, UtopiaJustifiesTheMeans, and {{Utopia}}. Contrast with {{Dystopia}}, and QuirkyTown. When a RealLife society is portrayed as this, itís PoliticallyCorrectHistory or PatrioticFervor, and the first flavor of {{Eagleland}} is a subtrope.PatrioticFervor. The polar opposite of CrapsackWorld. Compare AlternateHistoryWank. Mary Sue ''Dys''topias which are unrealistically efficient may shade into being NoDelaysForTheWicked.
27th Oct '17 6:23:02 PM BrendanRizzo
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See also CrystalSpiresAndTogas, PerfectPacifistPeople, UtopiaJustifiesTheMeans, and {{Utopia}}. Contrast with {{Dystopia}}, and QuirkyTown. The polar opposite of CrapsackWorld. Compare AlternateHistoryWank. Mary Sue ''Dys''topias which are unrealistically efficient may shade into being NoDelaysForTheWicked.

to:

See also CrystalSpiresAndTogas, PerfectPacifistPeople, UtopiaJustifiesTheMeans, and {{Utopia}}. Contrast with {{Dystopia}}, and QuirkyTown. When a RealLife society is portrayed as this, itís PoliticallyCorrectHistory or PatrioticFervor, and the first flavor of {{Eagleland}} is a subtrope. The polar opposite of CrapsackWorld. Compare AlternateHistoryWank. Mary Sue ''Dys''topias which are unrealistically efficient may shade into being NoDelaysForTheWicked.



* Many, many children's cartoons take place in such universes, most notably any series set in a fantasy world inhabited by fantasy characters, such as TheSmurfs or Franchise/CareBears. This allows for very easy plot construction where a BigBad is always trying to befoul the Suetopia in some way.
** Many of them are more properly a CrapsaccharineWorld, which [[SugarBowl looks nice]] but is actually full of monsters. Others are simply brightly colored but still have problems of their own without being over the top in either direction.

to:

* Many, many children's cartoons take place in such universes, most notably any series set in a fantasy world inhabited by fantasy characters, such as TheSmurfs or Franchise/CareBears. This allows for very easy plot construction where a BigBad is always trying to befoul the Suetopia in some way.
way. Shows from UsefulNotes/TheDarkAgeOfAnimation (such as ''WesternAnimation/TheGetAlongGang'' or ''[[Creator/RichardScarry Richard Scarryís Busytown]]'') frequently go even further than that, and have NoAntagonist at all.
** Many of them are more properly a CrapsaccharineWorld, which [[SugarBowl looks nice]] but is actually full of monsters. Others are simply brightly colored but still have problems of their own without being over the top in either direction. Still others are just LikeRealityUnlessNoted, with no reason for really nasty things to happen because children donít really experience them.
27th Oct '17 10:15:40 AM BrendanRizzo
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Added DiffLines:

[[folder:Multiple Media]]
* "Classic" Americana[[note]]works from between roughly the First World War and Vietnam, though works aimed at children continued for much longer in both directions[[/note]] portray [[{{Eagleland}} the United States as this trope]]. In such stories, the goodness of the U.S. of A. is not only self-evident, but fractal: not only is the government totally free of corruption and everybody equal before the law (with racism and other forms of discrimination utterly nonexistent), but all citizens are patriotic and impeccably polite to everybody, with the most disrespectful children ever getting being playing harmless practical jokes on people. Absolutely nobody is shown below the poverty line, and since everyone has a living wage, clearly all corporations must be completely benevolent, always founded by self-made men, and never influence the government or vice-versa. In these kinds of stories it's often taken for granted that wars, civil unrest, prejudice, and human rights violations only happen in other countries, and the implication is that those problems would go away altogether if America took over the world. Despite other countries frequently being depicted as still stuck in the Dark Ages, there is never any negative feeling against immigrants to the US. The upshot of this is that [[MoralGuardians some people]] think the US has declined since the time when this trope was dominant when in reality America is just portrayed more realistically, [[RuleOfCautiousEditingJudgment and that is all that shall be said]]
[[/folder]]
15th Oct '17 8:51:09 PM Zyffyr
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** Another example would be the elven kingdoms of Tir na nOg and Tir Tairngir. The first is Ireland that seceded from UK after success of an elven IRA made of child soldiers. The second is California, with essentially same backstory. Both are North Korea-level isolated, tolerate no corporate presence on their territory and use non-convertible currency different from the rest of the world. Yet somehow both elven kingdoms feature high standards of living, have some of the most elite special forces in the world, and have better technology than international megacorporations.

to:

** Another example would be the elven kingdoms of Tir na nOg and Tir Tairngir. The first is Ireland that seceded from UK after success of an elven IRA made of child soldiers. The second is California, Oregon, with essentially same backstory. Both are North Korea-level isolated, tolerate no corporate presence on their territory and use non-convertible currency different from the rest of the world. Yet somehow both elven kingdoms feature high standards of living, have some of the most elite special forces in the world, and have better technology than international megacorporations.
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http://tvtropes.org/pmwiki/article_history.php?article=Main.Marysuetopia