Low Fantasy is a catchall, and rather inexact, term for that sub-genre of {{fantasy}} that is neither [[HighFantasy high]] nor HeroicFantasy, and usually not UrbanFantasy, though it may overlap with the other sub-genres. Not a good way to define a genre, but English is funny like that -- [[TVTropesWillRuinYourVocabulary especially our particular brand of it]].

The designation is not a description of the quality of the work, but rather the ''amount'' of fantasy, and the number of fantastic or otherwise supernatural elements, it contains, which can be rather difficult to measure. Sometimes comedies are also excluded from the genre, but either way the works that remain don't have a natural unity.

However, while there are no features all Low Fantasy has in common, there are features common in many low fantasies, each the opposite of one of the defining features of High Fantasy:

* Mundane settings: {{Urban|Fantasy}}, {{historical|Fantasy}}, AfterTheEnd, or otherwise subdued and only sparsely supernatural. A clear contrast to HighFantasy's wildly superpowered setting.
* [[SlidingScaleOfIdealismVersusCynicism Cynicism]]: Low fantasy is famous for its [[GreyAndGreyMorality gray morality]] (or in nastier cases, BlackAndGrayMorality), while high fantasy is famous for its BlackAndWhiteMorality.
* [[AbsentAliens Human dominance]]: worlds which are populated mostly (or even exclusively) by human beings rather than the usual [[Literature/TheLordOfTheRings Tolkienesque]] mix of [[FiveRaces elves, dwarves and other humanoids]].
* Plot scope: Tends to focus more on the survival and tribulations of one or a few individuals rather than the whole world. A villainous king who steals a magical artifact is less likely to be trying to bring back the Infernal Legions of Hell and conquer the world, and more likely to be trying to make himself immortal, or conquer a few nearby kingdoms.
* Heroism: High fantasy heroes are usually all-around nice guys who stand up for the little guy and fight the bad guy. Low fantasy heroes tend to be [[KnightInSourArmor bitter cynics desperately clinging to their broken moral compass]] or devil-may-care anti-heroes who save the woman from the evil sorcerer just for the sex. At the very least, they tend to be closer to one of the many shades of AntiHero than a KnightInShiningArmor.
* Methods: Victories achieved through physical combat, not magical battles or moral superiority - the defining feature of HeroicFantasy.
* Tone: Tends to be darker or more comedic than your average high-fantasy world.
* Sorcerers: In high fantasy, they're kindly old men who sling fireballs in the name of justice, with the exception of the villain. Magic also tends to be treated as a wondrous force that binds the world together. Low fantasy (just like its sibling genre DarkFantasy) treats sorcerers as [[EvilSorcerer freakishly evil]], and [[WithGreatPowerComesGreatInsanity quite often insane people]] who would [[VirginSacrifice sacrifice a thousand virgins]] to some [[EldritchAbomination hideous monstrosity from another dimension]] just to increase their power a tiny bit. Magic is well within ThingsManWasNotMeantToKnow territory and is often thought of as [[MagicIsEvil the evil corrupting force]] that [[TheDarkSide entices innocent people into doing anything for power]]. And this all assumes, of course, that magic exists at all - there are examples where magic is essentially non-existent.
* War: In high fantasy a clear "Good vs. Evil" smackdown between civilized races and the AlwaysChaoticEvil races. In low fantasy, a useless war between two empires to make their lands marginally bigger.

Low magic tends to indicate low fantasy, but not always: ''Literature/TheLordOfTheRings'', TropeMaker for HighFantasy, is set in a low-magic world.

Distinguishing between low fantasy and [[MohsScaleOfSciFiHardness soft science fiction]] can be tricky. Robert E. Howard, creator of Franchise/ConanTheBarbarian, wrote both; the [[Creator/HPLovecraft Cthulhu mythos]] ''is'' both.

Not to be confused with {{Demythtification}}, which is [[{{Deconstruction}} deconstructed]] {{mythology}}.

Compare with MagicRealism, MundaneFantastic and DarkFantasy. Contrast with StandardFantasySetting, DungeonPunk, and UrbanFantasy, plus the tropes mentioned above.



[[folder:Anime and Manga]]
* ''[[Anime/SeireiNoMoribito Moribito: Guardian of the Spirit]]'' has a disillusioned cynic trying to make up for her past deeds. Fictional medieval setting with limited magic.
* ''LightNovel/SpiceAndWolf'': one of the two main character is a wolf goddess in humanoid form, but the plot is mostly about the mundane things she and the trader she travels with encounter.


%%[[folder: ComicBooks]]

* ''Literature/ABrothersPrice'' has absolutely no magic, but a world that is very clearly not ours. The narrative is not clear on whether it is postapocalyptic, or the environment just happens to be one detrimental to the health of [[GenderRarityValue male sperm and male fetuses in the womb.]] The heroism and battles are more of the low-fantasy type, too.
* ''Literature/ReturnOfTheReaper'', where we see little to no magic, except that of the demons and angels.
* ''[[Literature/HeirsOfAlexandria Shadow of the Lion]]'' by Creator/EricFlint, Creator/DaveFreer, and Creator/MercedesLackey is a good example. It is set in ancient Venice, and, though magic exists, it has little more to do with the day to day life of most citizens than historical "witchcraft" did, and, indeed is treated in much the same way. [[spoiler:Except of course for protagonist Marco Valdosta who ends up fulfilling his destiny as a mage by acting as a vessel for the [[DeusExMachina Winged Lion of Venice]] and saving the city.]] Virtually the only other fantastical elements are spirits/demigods and demons (from whom humans draw magical power, so arguably these two are just different aspects of the same element).
* ''Literature/ASongOfIceAndFire'' is a generally low-magic setting, with a cynical, pragmatic worldview and a focus on political maneuvering between rival factions who are all at least morally gray. However, because TheMagicComesBack slowly over the course of the story, the fantasy gets progressively higher as the series goes on.
* Eisenstein's ''Sorcerer's Son'' is fairly idealistic, but the small scale plot and human dominated world are enough to mark it as low fantasy.
* Literature/ChronicleOfTheUnhewnThrone by Brian Staveley has elements of HighFantasy but avoids stock tropes of elves, dwarves and wizards. Its magical system is complex but low-key, it has fantastic creatures like giant birds and a demonic ancient race, but largely the focus is on politics and military training.
* Literature/{{Discworld}}, particularly from about ''Discworld/MenAtArms'' onwards as Pratchett begins to explore how a city like Ankh-Morpork would actually ''work''. However while the ''feel'' is often Low Fantasy the actual setting - with dwarfs, trolls, extra-dimensional elves and dragons, interactive deities, recurring threats to reality itself and numerous wizards and witches - is more HighFantasy. Much of the humour comes from meshing the two forms together (for example, in Discworld/{{Sourcery}} the magic is very much HighFantasy, but the ''magicians'' are as Low Fantasy as they come) and much of the plot and conflict come from the juxtaposition of the idealism of High Fantasy against the cynicism of Low Fantasy.
* ''Literature/TheFirstLaw'' Trilogy by Joe Abercrombie and following books set in the same world are arguably Low Fantasy at its rawest.
* The ''Literature/DyingEarth'' stories by writer Jack Vance (and the [[TabletopRPG Tabletop [=RPG=]]] based on the books): an AfterTheEnd setting, where many societies have [[DaysOfFuturePast returned to a feudal and agrarian state]] or disintegrated completely, magic has [[MagicVersusScience all but replaced science]], and [[CrapsackWorld Life is cheap]]. Characters include the [[AntiHero selfish rogue and conman]] Cugel the Clever who has to reluctantly undergo quests for a wizard he tried to rob; Liane the Wayfarer, who [[VillainProtagonist happily commits casual murder]] and comes to a bad end at the hands of a collector with an unusual fetish for eyes; and the magician Rhialto the Marvellous, who constantly quarrels with his companions. It's safe to say that 99% of characters encountered are amoral, selfish, callous, narcissistic, sociopathic and thoroughly unpleasant {{Anti Hero}}es, or simply insane. The only character who is even remotely sympathetic is Mazirian the Magician, and even he can be ruthless when it suits him.
** The Dying Earth series kinda straddles between low and high, while the characters aren't paragons and so fit the low fantasy model, magic is far more high than low with characters having flying palaces in the clouds or traveling to black holes.
* The ''Literature/GentlemanBastard'' series by Scott Lynch: the main characters are a gang of sophisticated con men, who tend to run around cities rife with organized crime. The magical ability of the world is actually pretty high, but it's all in the hands of a wizards' guild that appears rarely and has it in for the protagonists.
* The ''Literature/{{Gormenghast}}'' Trilogy by Mervyn Peake could be seen as an extreme case of this even to the point where it's open to debate whether it actually counts as a fantasy series or not. While it does take place in a rather fantastical setting (i.e. an impossibly large and ambiguously sentient castle) and is doused with a good dose of fantasy imagery (e.g. a giant dead tree suspended many hundreds of feet from the ground on which a set of twins frequently have tea), it contains no instances of magic, dragons, talking animals or any other such elements found in even the lowest of fantasy novels. Also, the nonexistence of major conflict throughout most of the novels sets it apart from other fantasy stories. The third books ''really'' brings up doubts about the books' fantasy merit. Still, this doesn't repel book stores from insisting that these books be placed in the fantasy section. Actually, I'm not sure where else they would go. The related novella "Boy in Darkness," however, is a ''slightly'' more traditional fantasy story, but most of the magic and shape shifting elements present may've just been more metaphor than anything.
* Literature/AHarvestOfWar: A quasi-historical ConstructedWorld urban setting, the only actual fantasy element is a separate race of rather mundane not-exactly-humans.
* Literature/KalpaImperial, by Creator/AngelicaGorodischer, is a no-magic alterante world with a vast Empire, destroyed and rebuilded over and over again.
%%* Most of the fantasy novels of Creator/BarbaraHambly.
%%* Most of the fantasy of Joel Rosenberg.
%%* All of the fantasy novels of Creator/KJParker.
* Creator/RobinHobb's [[Literature/RealmOfTheElderlings Farseer]] series is classic Low Fantasy. Notable because the events described are very much high fantasy, but the story focuses on characters who barely ever see the significance of their actions, and the plot is very much grounded in their day to day experiences.
* ''Literature/ThePaladin'' by Creator/CJCherryh is an example of the "no visible magic" variety of Low Fantasy.
* Although a series about talking cats may sound like HighFantasy, ''Literature/WarriorCats'' has some very distinct Low Fantasy qualities, with its dark tone, GrayAndGreyMorality, increasingly [[DysfunctionJunction dysfunctional characters]], and minimal involvement of supernatural forces.
* Alan Campbell's ''Literature/DeepgateCodex'' trilogy combines many Low Fantasy elements with a {{steampunk}} setting.
%%* ''Literature/RonjaTheRobbersDaughter'' is a great example of a Low Fantasy children's book.
* K.J Parker's ''Literature/TheScavengerTrilogy'' is good example of a low fantasy. The series sticks to mundane settings and has a dark tone. It provides a troubling take on heroism. Supernatural elements are present but low-key. The wars are inglorious, both in the field and their aims.
* The ''Literature/{{Indigo}}'' series fits on most counts: It's AfterTheEnd. Sentient nonhuman beings are rare. Morality is mainly [[GreyAndGrayMorality grey and gray]]. Clan feuds are more likely than actual wars (although one kingdom does get captured by an EvilOverlord [[spoiler:who turns out not to be evil after all]]). And magic isn't particularly reliable or predictable, and is rarely powerful. However, the future of the human race ''is'' on the shoulders of our eponymous heroine and [[NonhumanSidekick her]] "dog." [[spoiler:[[MindScrew Or something]].]]
* James K. Burk's ''High Rage'' (and its as yet unpublished sequel ''Taking Hope''): intrigue, war, politics, swordfighting and some interesting magic, but no dragons or world-shattering conflicts.
* ''Literature/TheStoneDanceOfTheChameleon'' takes place in a world with no magic at all, but has all the worldbuilding hallmarks of a fantasy series.
* ''Literature/TalesOfTheOtori'': A series in which magic is rare (and controlled by a secretive network of supernatural spies and assassins), magic-users are generally feared and mistrusted, all but one of the main antagonists are non-magical, political intrigue and military strategy play as big a part in the plot as the supernatural elements, and the protagonist is a former religious pacifist turned vengeance seeker after the massacre of his village.
* The ''Literature/{{Redwall}}'' novels are another example of low fantasy, where the villains often go to war for petty reasons, [[MaybeMagicMaybeMundane magic is almost nothing more than prophecy and ascended parlor tricks]], the scope is limited to Mossflower woods (or if they do go afar, wherever that place happens to be; our heroes are not going out to save the world as you'd expect in HighFantasy), and where in the earlier books, AnyoneCanDie. What breaks that mold is the FunnyAnimal cast, the BlackAndWhiteMorality, and the fact the Brian Jacques himself ostensibly [[WhatDoYouMeanItsForKids writes these books for kids]].
* ''Literature/GunfightersRide'' is about a Pony Express rider and his horse dealing with magical menaces.
* ''Literature/LastDragon'' has very little magic and the dragons are, as might be inferred from the title, extinct. The tone of the novel is rather harsh too.
* ''Literature/TheGoldenDreamOfCarloChuchio'' is a simple travel tale with little magic involved(mostly dreams and visions which have minor bearing on the plot). The setting is rather like Medieval Central Asia and if you look up place names you will sometimes find them actually corresponding to place names in medieval times.
* The Old Norse ''Literature/SagaOfGrettirTheStrong'' (from c. 1320 AD) fits the definition rather well. Its main plot is the title hero's struggle to survive as an outlaw, but it also features black magic and fights with undeads and trolls.
* ''Literature/TillWeHaveFaces'' by [[Creator/CSLewis C. S. Lewis]] certainly skews in this direction. Somewhat surprising from the author of ''Literature/TheChroniclesOfNarnia''.
* ''Literature/TheReynardCycle'': GreyAndGrayMorality? Check. AntiHero? Check. An almost complete lack of magic? Check. It would actually be easy to mistake the setting of the series for Europe of the mid-1400's if were not for the presence of a polytheistic religion, as well as the [[MixAndMatchCritters chimera]], giants, sea monsters, etc. There is some fan speculation that the setting is our own world, long AfterTheEnd.
* Glen Cook's ''Literature/TheBlackCompany'' series is Low Fantasy with a High Fantasy backdrop. The titular Black Company is a mercenary company employed in a High Fantasy-type war of Evil Empire versus Heroic Rebels. However, they aren't working for the Heroic Rebels. Definite [[GreyAndGreyMorality gray morality]]; the "Evil" Empire is more Lawful Neutral, while the "Heroic" Rebels are rather less heroic on closer examination. The main characters are all loyal to each other and the band, but are interested in survival, not saving the world. And as to magic users being rather freakishly evil, there's the Dominator...
* Gene Wolfe's ''Literature/BookOfTheNewSun'' takes place in an Earth so far in the future that the sun has gone red and counting individual years have become meaningless. Before the fall of humanity into an impoverished dark age of ignorance and superstition, humanity had reached levels of technology that borders on the supernatural, having mastered things such as dimensional portals. Now humanity is fighting over the scraps, while the End Times grow ever closer. Psychic powers and bizarre alien creatures from other planets and dimensions further confuse the line between sci-fi and low fantasy, but these are rare. In this world, eating a pork sausage is considered a stroke of luck for most people and until near the end of his tales, the main character is mostly stumbling around between his execution jobs rather than doing epic deeds.
* D. E. Wyatt's ''[[Literature/ElsabethSoesten No Good Deed...]]'' is set in a world influenced by mid-15th Century Western Europe, with neither fantastic creatures or magic to be found.
* Creator/TimMarquitz's ''Literature/{{Dirge}}'' is set in a world almost on the verge of destruction due to a ZombieApocalypse but which still has a small chance of survival due to, well, people with swords and walls. Assassin Dirge, a SweetPollyOlliver killer working for the local church, may change the balance of power between the zombie's necromancer masters and TheEmpire which controls the walled compounds.
** Also by Creator/TimMarquitz is the ''Literature/TheBloodWarTrilogy'' which takes place in a world where magical artifacts are exceedingly rare and incredibly powerful game-changers--and the Orc equivalents have just found an entire treasure-trove full of them, changing the balance of world power.

%%[[folder:Live-Action TV]]
%%* ''Series/{{Supernatural}}''

[[folder:Tabletop Games]]
* TabletopGame/{{Warhammer}} Swings from Low to High Fantasy, and everything in between. In particular, many areas around The Empire or the Border Princes are typically Low Fantasy for the most part. An article in ''White Dwarf'' magazine even gave tips on how players can structure their armies to be Low Fantasy.
* ''TabletopGame/WarhammerFantasyRoleplay'' on the other hand defaults and mostly stays there. Although you ''can'' encounter very potent supernatural elements, it usually means you're in way over your head.
* ''TabletopGame/IronKingdoms'' (at least in their RPG incarnation) take a pretty good shot at this one. Even in the tabletop battle game, wars between nations are usually concerned with either land-grabbing or religious differences (the kind with fire), but anything involving the undead Cryx faction usually veers off into ludicrous world-threatening territory.
* ''TabletopGame/{{Ironclaw}}'' emphasizes interpersonal conflict, politics, and characters who actually have a place and role in society other than "adventurer". The relative paucity of "monsters" ([[WhatMeasureIsANonHuman Guilt Free Slaughter Victims]]) in a FunnyAnimal-populated setting gets a LampshadeHanging in one supplement:
--->'''Frater Perphredo:''' Where are the monsters? My friend, we're '''all''' monsters.
** That said it's not ''Dark'' fantasy, most of the factions have a sympathetic side and magic is treated similarly to High fantasy, aside from [[BlackMagic Unholy magic]] which is unquestionably evil (though WhiteMagic isn't necessarily good), and the setting is reaching a renaissance.
%%* ''TabletopGame/D20Modern'': The "Shadow Chasers" setting
* ''TabletopGame/BunniesAndBurrows'': A game about intelligent rabbits trying to survive in a modern setting. Magic does not exist, but there are mild psychic powers (rare) and herbs can be combined into medicine. Your average monsters include humans, dogs, and owls.
* ''TabletopGame/{{Maelstrom}}'' is set like this. The magic only exists as the power of God or as part of a mystical, mistrusted force. (There IS a character class of Mage.) Otherwise it is just normal Tudor England. You could even remove the magic with no major changes.

* While not gritty or cynical in the slightest (just the opposite, really), the ''{{Atelier}}'' series of games tend to have many of the other marks of Low Fantasy. In the earlier (and Japan-exclusive) games especially, the setting is dominated by humans, there is very little blatant magic (most "magical effects" are at least manufactured by the alchemist heroes of the games, often with recipes that have at least a little grounding in actual science), and the setting of the games only encompasses a single country or principality (on purpose, as the protagonist is working in a time limit and typically is running a business anyway, and doesn't have time to go casually WalkingTheEarth). The ''Atelier Iris'' sub-series, which did make it to America, has received some criticism for moving away from most or all of these elements; ''Mana Khemia'' and Atelier games on the DS, ''Liese'' and ''Annie'', have brought the Low Fantasy elements back to the forefront to at least some degree, with ''VideoGame/{{Atelier Rorona|The Alchemist of Arland}}'' deliberately going back to it full-force.
* ''VideoGame/{{Darklands}}'' sits comfortably between high and low, although its roots are firmly planted in Low Fantasy due to taking place in 15th century Central Europe, during the last years of the Holy Roman Empire. You spend a great deal of time simply making enough money to survive, and spend a lot of time visiting very mundane cities and villages, negotiating with local lords (most of whom don't have the time to talk to you anyway), studying at universities and cathedrals, and tackling robber knights and brigands. Magic comes only in the form of alchemical concoctions (recipes for which are supposedly, but not really, based on the works of real-world alchemists and philosophers), which take a long time and precious (real-world) ingredients. The supernatural elements, however, are pretty strong, with many mythical creatures from European lore lurking in the countryside, and an over-arching plot involving the summoning of demons from hell. Also, Christian saints apparently have great powers to bestow upon their followers.
* ''VideoGame/{{Thief}}'' fits this trope to a tee and [[RuleOfCool even adds]] a very gritty FilmNoir aesthetic coupled with medievalish ClockPunk and SteamPunk into [[XMeetsY the overall mix]]...
* ''VideoGame/SunsetOverImdahl'' hits seven items out of nine on the checklist, and barely avoids the last two--it's a pointless war to keep a crumbling empire together, and magic is barely present, let alone good or evil.
* {{Creator/Bungie}}'s ''VideoGame/{{Myth}}'' series is arguably an example. While its setting does have wizards of incalcuable power and legions of undead soldiers in a campaign to exterminate the living, the focus of the series tends to be on rank-and-file soldiers struggling to get by, fighting a seemingly hopeless war which none of them expect to survive, and just observing the world falling apart around them. There is little in the way of [[HeroicFantasy heroics]], just a [[HeroicResolve collective resolve]] not to go quietly into the night.
* ''VideoGame/DwarfFortress'' may have humanoid species besides humans (with the spotlight, naturally, on the dwarves, though all of the races are assholes in their own way), but it's quite low as fantasy goes. Technological advances range between the bronze and medieval ages (though, with a little creativity, [[ClockPunk the dwarves can go well beyond]]), there's no magic (and the magic immediately in development, necromancy and immortality, is only controlled by the few who learned of divine secrets), and the most common threats to your colonies are rather mundane issues such as the local wildlife, the scarcity of natural resources, and invasions from the malevolent goblins (or, perish the thought, [[ArsonMurderAndJaywalking running out of booze]]). Dragons and megabeasts may exist, but they are few and far between. With that said, the game is relatively easy to modify, allowing code-savvy players to add their own mythical terrors and magic if they wish.
** Also, if you [[DugTooDeep dig deep enough]], you'll get to the [[TheLegionsOfHell Hidden Fun Stuff]]...
* ''VideoGame/{{Gungnir}}'', which is gritty and set to a BlackAndGrayMorality racial conflict. The world has some magic, but anything flashy is bound to be a [[ThingsManWasNotMeantToKnow forbidden art]]; there are Sprites, but they tend to stay away from people, and the resident angel's morality and objectives are a bit questionable. It helps that this game is part of the unabashedly DarkFantasy VideoGame/DeptHeaven series.
* ''Pigskin'' takes place in a "Seventh Century A.D." where Vikings battle barbarian hordes on the English countryside for no determinable reason or purpose. Historical accuracy is definitely not the point.
* ''VideoGame/MountAndBlade'' takes place in the ConstructedWorld of Calradia, and other than the total lack of magic and the supernatural it fits the mold quite well. You take on the role of a wandering hero seeking to make a name for himself in a land of warring kingdoms controlled by {{Feudal Overlord}}s who are out to expand their holdings and gain personal glory.
* ''LastScenario'' straddles the line between this and high-fantasy. On one hand, there's a race of elf-like people (though they don't have the longevity that are typically associated with elves,) and in the past everyone had to contend with demons [[spoiler: though this turns out to be propaganda.]] On the other hand, much of the game is spent contending with a messy war involving three different nations and lots of political intrigue and scheming.
* ''VideoGame/MonsterHunter'' has many of the hallmarks of LowFantasy. Humans are overwhelmingly the dominant race (others exist, like the [[IntelligentGerbil Felynes]] and [[OurElvesAreBetter Wyverians]], but they get little focus), magic doesn't exist, and the plot scope is centred on individual hunters trying to get by in a world where EverythingIsTryingToKillYou.
* ''VideoGame/InheritTheEarth'' is set in a [[WorldOfFunnyAnimals world]] where [[AfterTheEnd humanity]] either died or ''left''. {{Uplifted Animal}}s, the descendants of humanity's last projects, have built a quasi-medieval society using found artifacts, such as the ''extremely'' advanced [[MagicFromTechnology Orbs]], to help keep their lives running smoothly.
* ''[[{{VideoGame/Thera}} Thera: Legacy of the Great Torment]]'' is a ''VideoGame/MedievalIITotalWar'' mod that puts the player behind the reins of a civilisation in an Earth-like world that has just survived a cataclysmic event known as the Great Torment. The presence of stat-boosting and [[MaybeMagicMaybeMundane possibly supernatural]] artifacts, non-human creatures on the southernmost and northernmost continents, and vague hints of prophecies in some faction's backgrounds, all suggest there is something else going on besides the mundane and scientific. It's much, much more cynical than the average HighFantasy, though - there is no good or evil here, just different civilisations all fighting each other for different reasons, be it freedom, faith, self-defence, revenge, or simple lust for power ([[HumansAreBastards mostly that one]]).

* ''Webcomic/TheOverture'': The world of East Rondelin is a gritty place resembling feudal Japan. Two warlords have decimated the countryside fighting eachother for control of desolate rock, a small, worthless island with no strategic position or resources. Magic does not exist, and even the evil race of Demi has been subdued by the invention of crossbows.
* ''Webcomic/RumorsOfWar'': Mundane setting? AncientGreece. Cynicism? [[GreyAndGrayMorality Cloudy]] with a chance of [[DepartmentOfRedundancyDepartment more clouds]]. Human Dominance? [[TheMagicGoesAway Yes]]. Heroism? [[KnightInSourArmor natch]]. [[MythArc Rumors]] [[ExactlyWhatItSaysOnTheTin of war?]] Take a wild guess.

[[folder:Web Originals]]
* ''Fanfic/AScotsmanInEgypt'' is mostly a HistoricalFiction[=/=]AlternateHistory story, but it also contains a few low-key fantasy elements, mostly consisting of the visions various characters experience, coupled with the one witch who uncannily recites a conversation from decades ago, mostly spoken by dead men half a continent away.