Scrapped Princess blends fantasy and sci-fi elements, with a world seemingly in Medieval Stasis where magic and Tron Lines abound. Then adds Ruins of the Modern Age and the Skid into the mix and the existences of Xeferis, and Natalie, who're dragoons that link with their masters. And the Peacemakers, who are a powerful race of alien overlords who can enslave the minds of all who gaze upon them. And their true forms resemble Humongous Mecha!
Aura Battler Dunbine was a noteworthy Humongous Mecha anime because it was a Yoshiyuki Tomino work and because it happened in a medieval setting full with unicorns, fairies... and giant robots. And that medieval world was a parallel dimension the main character arrived at through a dimensional gate.
In Panzer World Galient the setting was a typical medieval fantasy world... with giant robots thrown in the mix.
Later events show the setting to be closer to a science fiction story set in a medieval society (with a plot inspired by heroic fantasy tropes) than it is a high fantasy story that features giant robots.
El-Hazard: The Magnificent World is another series that blends science fiction with fantasy, featuring a story centered around a time paradox set in a land rife with magic and supernatural wonder. Yet, there are remnants of ancient technology as well, such as the Stairway to the Sky, the Eye of God, and the demon dolls.
Dragon Ball Z starts out as a new rendition of a fantastic Chinese folk tale, and the titular MacGuffins are blatantly magical — but then we get alien invaders, space travel, and androids and it all gets weirder from there.
The very first chapter of Dragon Ball has a motorbike-in-a-bottle.
The Korean manga (manwah) Noblesse features an 800-year old vampire awakening in modern-day Korea, his having to deal with an age-old betrayal and his fellow Noble Vampires, who wield immensely powerful Soul Weapons passed down from generation to generation, containing the spirits and powers of their previous owners. Oh, and the bad guys is an international military organization known as the Union, which runs Super Soldier experiments with modified humans, werewolves, and vampires.
ARIA is a subversion. Set in a replica of Venice on the planet Aqua (née Mars), there are elaborate technological control systems maintaining the environment — floating islands for climate control, underground facilities for enhancing the planet's gravity — the works. Then the cast is caught up in supernatural time travel and ghosts of the past appear. This sounds like the setting for a gripping tale of planetary exploration and the technological and social struggles of the colonists as they deal with a mysterious past. But really, it's just an excuse for Scenery Porn, as the female gondoliers float through a beautiful, peaceful city in their happy-go-lucky lives.
A Certain Magical Index the tag line is "when science and magic cross paths", and draws liberally from all sorts of speculative fiction and fantasy tropes for each story arcs.
Zombiepowder. flavors it with Western themes. At the same time as you have gunplay, chainswords, bounty hunting, and gangs of outlaws, you have strange arts bordering on magic, people who can teleport, and rings that eat life force and can use it to revive the dead and make the living immortal.
Puella Magi Madoka Magica is a Magical Girl show. The science part comes in when Kyubey's motivation for recruiting magical girls is revealed. He and his race are Sufficiently Advanced Aliens attempting to stop the heat death of the universe. Magical girls and witches really are magical and not bound by the laws of physics, so the energy they produce can be used to fight entropy.
Comic books, especially those set within the mainstream superhero universes published by DC and Marvel, don't so much straddle the line as obliterate it, in that ray-guns and magical spells coexist quite comfortably. While there are too many examples to list here, here are a few notable ones:
The original Defenders featured both the Silver Surfer, an alien adventurer who had been empowered by the embodiment of universal entropy and whose own series was a classic space opera, and Doctor Strange, the Sorcerer Supreme, who fights demons.
Captain Atom also seemed to fall on both sides of sci-fi and fantasy, since his powers, which came from the alien tissue grafted to his skin by a nuclear explosion, also tied him to the life-energy of the universe, which allowed him to journey to the afterlife, fight death itself, and then return.
Swamp Thing, as Alan Moore re-envisioned him, was the latest in an ancient line of plant elementals with godlike powers, and was able to travel to the afterlife and other immaterial realms. At the same time, his origin received a pseudo-scientific explanation (transmission of memories from predator to prey), and he later discovered that his mind was an electromagnetic wave pattern capable of subtle manipulation that allowed him to travel to any planet with vegetation.
Superman is classically vulnerable to three things: the particular frequency of EM radiation emitted by the fragments of his homeworld, red sunlight, and magic. He's also vulnerable to psychic attack. Telepathy itself fits quite comfortably in either genre.
His alternate universe counterpart Superboy-Prime is invulnerable to magic though... for some reason.
And speaking of Superman, on Smallville, not only does magic exist alongside high technology, but it often seems, at least to some viewers, that Jor-El was more wizard than scientist, and that the voice which inhabits the Fortress of Solitude is more ghost than artificial intelligence. Certainly, his actions often seem to follow a more supernatural than scientific logic, as when he tells Clark that the price of his resurrection will be the death of one of his loved ones in exchange, or when he arms Clark with a dagger with glowing runes on the blade capable of killing a Kryptonian.
The Fables universe contains Anthropomorphic Personifications of various literary concepts. Amongst the genres, Science Fiction and Fantasy are twins (and have a little brother, Superhero); at one point Fantasy remarks to her brother "We're so sympatico that sometimes it's hard to tell where I leave off and you begin."
Many fanfics will fall into this category, usually crossovers between works on opposite ends of the speculative fiction scale.
The Conversion Bureau, is set Twenty Minutes In The Future with A.I. handling most menial tasks, holograms everywhere, cybernetic upgrades readily available, and the early phases of space colonization. With the emergence of Equestria there are also spell casting unicorns, weather controlling pegasi, monsters from across many mythologies, and two Physical Gods of the moon and sun.
With Strings Attached completely blurs the lines between fantasy and science fiction. The planet C'hou has the quasi-Victorian land of Ketafa, with its guns, factories, and occasional motorized vehicle, and the exceptionally nonstandard fantasy continent of Baravada; the Fans influence events via magitech and watch things on their computer screen; and the four visit three wildly different worlds on their Vasyn quest, including a 1950s parallel New York-Xanth expy, a universe where science has overtaken magic (but it still has its adherents), and a more traditionally magical world of adventure that was partially put together with magitech.
The genre of Star Wars was explicitly stated by Lucas to be space fantasy.
It's the story of a farmboy who meets an old wizard, learns magic and swordfighting from him, and then fights an evil wizard and a dark knight. He travels throughout strange lands were he meets monsters, rescues princesses, and....flies a spaceship. Because all this takes place in another galaxy where space aliens fight with laser guns and manual labor is done by robots. The prequels participate in some Doing in the Wizard , but even they don't try to explain the ghosts and the prophecies. The massive Expanded Universe gives us dragons, magical artifacts...and also features mass dewizardification, depending on the writer.
In Thor, Asgard seems to be half Crystal Spires and Togas utopia, half Middle Earth clone. On the one side, we've got the Bifrost, a wormhole opening device which seems to function as an Einstein-Rosenberg bridge. On the other, we've got Thor's hammer coming to his hand when he proves worthy in something that cannot possibly be explained by anything but magic. The film lampshades this by citing Clarke's Third Law: sufficiently advanced technology is indistinguishable from magic.
Thor: The Dark World takes this Up to Eleven by having having Elves with spaceships and lasers (not Space Elves mind you. Actual Elves), Asgardian AA guns, and a "soul forge" which Jane helpfully points out is in fact a quantum field generator. Once again, science IS magic.
The Transformers film series is, at its core, an epic fantasy story told in modern times with giant transforming robots. It has the usual elements such as a mythical origin story, ancient artifacts of great, ambiguous power, discussions of fate, destiny, and the call to adventure, themes of absolute good versus absolute evil, and messiah and anti-Christ figures.
TRON starts out with what looks like a fairly standard evil AI plot, but then the main character is shot by a laser and "digitized" into a computer. He finds himself in a magical world where computer programs are people that worship godlike "users," and takes part in an epic quest to defeat an Evil Overlord (the Master Control Program) using a powerful artifact (an identity disc containing data that can destroy the MCP). The movie would probably be best described as a pure fantasy story, were it not for the fact that it was set inside computers.
Sucker Punch: The third battle scene is this at level 11. When Goblins are perfectly capable of being catapulted onto your World-war 2 gunship, and your assault rifle's bullets are just bouncing off that big dragon's hide, you realize that yeah, I'm in a Science Fantasy scene.
The Matrix: Neo is "The Chosen One", prophecied by an oracle, and he has special powers that allow him to fly, bend spoons, and dodge bullets. Oh, but it's only cause he's in a computer simulation run by intelligent machines.
The Godzilla and Gamera franchises have monsters of both magical and scientific origin fighting or teaming up with each other, sometimes within the same movie.
Immortal is set in the future and features things such as flying cars, human augmentation, and other sci-fi conventions, but there are also Egyptian gods running amok with supernatural powers.
The Chronicles of Riddick series shifted into this with The Chronicles of Riddick, the second film. Pitch Black was fairly hard sci-fi, but Riddick 2 introduces superhuman warriors on a holy crusade led by an Evil Overlord, elemental alien seers, and a prophecy saying that Riddick (now the last living member of an extinct Proud Warrior Race destroyed by the Overlord) will be the one to kill the Necromonger leader. It still comes off as a strange mix with Low Fantasy, as the harder elements are still present in every scene that doesn't involve the Necros.
Electric Dreams: A 1980s era home computer achieves sentience because it's owner accidentally spills sparkling wine on the keyboard. It also seizes control of all the household appliances, and starts writing love songs for it's owner's girlfriend (much like Cyrano de Bergerac). Naturally, a Love Triangle Ensues.
This is a major part of the premise of Artemis Fowl. It's squarely between the two as well. Book number five, one of the better examples, has Artemis calculating, mathematically, the exact time that demons would appear out of nowhere (It Makes Sense in Context) due to magic, and the use of a high-yield bomb to power a spell.
Heinlein's Glory Road is a reconstruction of pulp adventure novels with an ordinary modern day man swashbuckling his way across several savage planets inhabited by "dragons" and other such beasties in search of a device that recorded the memories of all the Empresses of the Fifty Universes.
Piers Anthony's Apprentice Adept series fits perfectly. The setting is one world split across two realities. One of them is called Proton, which is high tech, while the other is known as Phaze, where magic prevails.
"Sufficiently Advanced Technology" by Christopher Nuttall. The story is of a Post-Singularity, Spacefaring society with vast technology that discovers an anomalous planet where wizards rule over feudal cities.
The Dark Tower series by Stephen King, set in a post-apocalyptic world where oil refineries, nuclear-powered water pumps, and the music of ZZ Top co-exist with wizards, succubi, and gunslingers who fight for truth and justice in the Arthurian tradition.
David Weber's Hell's Gate series is about two human. civilizations coming into contact with each other through inter-universal portals. One civilization, The Union of Aracana, is a very Magitek civilization with wizards, dragons (that are genetically engineered) and the the main fighting weapons are swords and crossbows. The other one, The Empire of Sharona, has Psychic Powers and other little things like rifles, machine guns, cannons, steam engines, armored personnel carriers, trains, battleships, etc... Neither side reacts well to the existence of the other.
The Dragonriders of Pern books feature intelligent, telepathic, teleporting, and occasionally time-traveling dragons. These are just genetically engineered upgrades of preexisting diminutive "dragons", which have similar powers, though this Lost Technology aspect isn't explored until the prequels. Later books also feature a supercomputer.
McCaffrey has always maintained that the books are Science Fiction rather than fantasy, as everything is based on hard science, and she has spoken to many authorities in various sciences to work out the specifics of the world and the things that happen on it.
Acorna and sequels are about a foundling creature who looks like a "unicorn girl," complete with a horn on her forehead, unearthly beauty, and the power to purify water and air. Except she's not exactly magical: she's an alien, and the setting is basic science fiction with spaceships and interplanetary travel. Double subverted when it is revealed that her species is genetically-engineered by aliens who combined their own DNA with that of unicorns they rescued from Earth.
Julian May's Pliocene Exile/Galactic Milieu books feature aliens and spaceships, but also planet-shaking psychic powers, elves and goblins. Generally sold as Sci-Fi.
In all fairness, the elves and goblins are clearly referred to as alien races throughout the series.
Terry Brooks's Shannara series takes place in our future, After the End, and includes robots and mad computers, but also elves and magic. Generally sold as fantasy.
The Dragaera books look at first to be typical Dungeon Punk, with magic, elves (OK, "Dragaerans"), swordfights, et cetera. However, careful inspection indicates science-fictional underpinnings: humans ("Easterners") are from "small invisible lights" (meaning the stars, invisible in the Empire because of the enclouding), genetics and gene manipulation are well-understood, and some characters view abstract concepts like "the soul" as matters of engineering, not religion. Let's not even get started on the gods and the nature of magic...
Randall Garrett's Lord Darcy stories are a Sherlock Holmes-style mystery series set in an alternate history with very rule-based magic. While technology (and politics) has barely equaled the gaslight-era by the 1970s, magic has effectively reached a bit higher than modern day technology. And magic isn't just useful, it's carefully codified, requiring as much study, repeatability and dedication (and certification, licensing and taxes) as modern engineering or medicine. Though now commonly billed as fantasy, most of the stories originally saw the light of day in either Analog Science Fiction or Isaac Asimov's Science Fiction Magazine.
Randall Garrett once stated that Lord Darcy’s world and ours shared the same laws of physics. He defined the “magic” of Darcy’s world as a form of psionics, which he thought of as a real-world phenomenon.
Gene Wolfe's Book of the New Sun series is set After the End in a Schizo Tech world mixing feudalism (and a Low Fantasy style of narration) with space travel, androids, laser weapons, etc. However, there is a device the protagonist gets a hold of called the Claw of the Conciliator which appears to be magical with no scientific explanation. Generally sold as science fiction.
One reviewer comparing the tetraology with the fifth book, The Urth of the New Sun described the first four books as "science fiction pretending to be fantasy", and the fifth as "fantasy pretending to be science fiction".
Terry Pratchett's Nomes Trilogy is a good example of genre blending. All three books are written as a Borrowers/Littles sort of "tiny people living undetectably amongst us" story, except that it is revealed that the Nomes are in fact aliens marooned on Earth who have devolved somewhat, who only realize what they are when "The Thing", a mysterious box that one of the characters carries, starts talking and turns out to be a sentient computer.
Neil Gaiman and Micheal Reaves' book Interworld features a multiverse organized as an arc, with the worlds on one side being ones where magic is in control, and worlds on the other where science is the dominant paradigm. Each end is ruled by a multiplanar empire, one representing Magic and one representing Science, which are both trying to take over the entire multiverse. There is a third organization, made up of different versions of the main character, who fight both sides and have the ability to travel freely between worlds, who move about the center of the arc.
Roger Zelazny liked to challenge the boundaries between Science Fiction and Fantasy, and was known for blending in elements from Mythology:
Lord of Light featured apparent Hindu Gods—actually humans with mutant powers—on a far-future colony world.
Eye of Cat had Native American Gods in a far-future setting.
Jack of Shadows takes place on a planet which is half-magic (dark side), and half technological (sunlit side). The titular antihero moves effortlessly between both.
A lot of Jack Chalker's novels and series mixed up the two, often with Sufficiently Advanced Alien (or sometimes human) tech providing a backdrop in which magical-like effects (sometimes called magic by the user who didn't understand it) were possible. The Well World series is an example of the alien version, while the Flux and Anchor series had the Applied Phlebotinum created by humans.
His Four Lords of the Diamond series features four planets seeded with a sort of alien parasite that provides people with strange powers, each unique to one of the four planets. The third book in particular involves a planet where people can effectively perform magic, and it's even called magic in the book.
Mary Gentle's Grunts! starts out as a stereotypical fantasy world told from the point of view of a tribe of Orcs. There's a Last Battle, a Dark Lord, a Nameless Necromancer, halfling thieves, The Dark Lands, and all the things you'd normally expect to find in a High Fantasy world. Then the orcs get their hands on modern firearms (from our universe via a magic portal). Cue an elephant made to fly with anti-gravity and a cloaking stealth dragon. Then Aliens invade!
His Dark Materials should fit in this. There are plenty of things that should go well with science fiction (the fact that Dust is a particle, the numerous technologies that look as if they came from various degrees of civilization, from Steam Punk worlds to things akin to those you'd see on hard science fiction (especially in the last book), the alternate evolutionary paths of life on Earth seen in some worlds like that of the mulefa, etc.), but there are plenty of themes that should connect it to at least Low Fantasy (the witches, the fact that Dust is conscious, the armoured polar bears, etc.)
Animorphs: A blue centaur gives a bunch of kids the ability to transform into animals so they can fight monsters. Could have been a fantasy book, but it just so happens the "centaur" is an alien, and the morphing powers have perfectly scientific explanations (alters your DNA etc.)
Orson Scott Card, in the afterword to an audio recording of Ender’s Game, talks about trying to sell a short story based in the world of The Worthing Saga. He mentions that one of his rejections said that it was a good story, but it wasn't right for the magazine, as it was Fantasy rather than Science Fiction. He said that the reason it was considered Fantasy was because none of the scientific backdrop was present in the story. In the end, he concluded that the only difference between Fantasy and Science Fiction is that "Fantasy has trees, Sci-Fi has rivets."
Belisarius Series has sword-bearing warriors, robots, scizo-tech, time-travel, visions of the future, and all, all mixed up.
What's New on the differences between fantasy as science fiction: None
Much of Nnedi Okorafor's work falls into this category. The Shadow Speaker and Zahrah the Windseeker both are mixtures of sci-fi and fantasy, though Zahrah the Windseeker is more explicitly fantasy. Both take place in futuristic worlds that are very high tech (the former takes place in a future Earth and the latter takes place on another planet that is similar to Earth) that also have various people with magical powers.
Sergey Lukyanenko's A Lord from Planet Earth trilogy is, while set in a sci-fi universe, definitely quite a lot of fantasy elements. Similar to Star Wars, the author has create the setting in such a way as to force people to fight using swords instead of much more advanced weaponry using Applied Phlebotinum that he doesn't even bother trying to explain (a commonly-used field that prevents any destructive reaction in its radius, including nuclear and annihilation). The twist is, the protagonist is a former army sergeant from Earth whose experiences in 20th-century hot spots have resulted in a Combat Pragmatist, who immediately tries to come up with ways to get around the fact that he has never held a sword in his life prior to the events of the book. Most characters think that his methods are dishonorable and atrocious. Also, like any fantasy story, it has a princess that requires saving.
The Witches of Karres by James Schmidt is about a spaceship captain who rescues three little girls who turn out to be the titular witches. Yes, you could call it "psychic powers," but actually everyone in the book calls it "klatha magic."
Ecko Rising by Daanie Ware combines a high tech cyberpunk world with that of fantasy.
Samantha Shannon's The Bone Season is set in an Alternate History Cyber Punk England and adds in people with Psychic Powers and Rephaim, a race that combines characteristics of The Fair Folk and vampires.
Eoin Colfer's The Supernaturalist combines a Cyber Punk future with invisble (to all but a very few), soul eating (or so it appears) cryptozoological creatures called Parasites.
Christopher Stasheff's Warlock of Gramarye series dances mockingly on the edge of SF. Most of it takes place in a cod-Elizabethan land of swords and sorcery, knights and lords, witches and fairies, but all the magic is more or less explained away by a mixture of psi powers, alien life forms and Sufficiently Advanced Technology.
Aldrea Alien's The Rogue King series starts with spaceships crashing on an alien world, which is largely controlled by gods and the larger population have some form of magic.
Doctor Who: Oh, where to begin. The original series was supposed to be firmly grounded in observable reality — the Doctor himself identified as a scientist on a number of different occasions, because the series was originally intended to be an Edutainment Show — but then the more zany science fiction elements took over. By now, it uses elements from all over Speculative Fiction, from eldritch horrors to Venitian vampires to Cybermen. And it's all brought together by a Time Traveling TARDIS that apparently goes where and when it is needed.
LOST has ghosts, immortal people, and sentient Islands that can move...and also well thought out time travel, exotic matter, and electromagnetism as a key plot elements. Though, really, no one knowswhat genre it is.
The trope is one of the major themes of Buffy the Vampire Slayer season 4. The penultimate episode is an epic battle between the forces of science and the supernatural, orchestrated by a Big Bad who has a foot in both camps.
The second season of Buck Rogers in the 25th Century has a lot of fantasy involved. In "Journey to Oasis", it has orc-like monsters, a cave filled with deathtraps, and a living sword with an invisible wielder.
The Vampire Fiction series Bloodline has this kind of setting. While Lilo and her allies stick with magic, the antagonistic Shengdi a variety of weapons. Examples: Flying mobile bases, modern day battle suits, scythes, tanks. And, of course, silver bullets and their own kind of magic.
GURPS Technomancer. The first above-ground atomic explosion in the U.S. releases magic into the world. As a result, people can cast spells and weird hybrid creatures are born, but only in the area covered by magical fallout.
Dungeons & Dragons. Several supplements and campaign settings over the years have been based on this premise:
Module S3 Expedition to the Barrier Peaks, set in a spaceship that crashed in the Greyhawk setting.
The Odyssey - Tale of the Comet boxed set, which also involved a crashed spaceship.
Modules DA2 Temple of the Frog and DA3 City of the Gods, both of which occurred in the Blackmoor setting.
Eberron is one of the codifiers of the Dungeon Punk sub-sub-genre. Elemental binding magic allows for airships, mag-lev trains, and sapient constructs, among other things.
Pathfinder looooves itself this trope. Not only does it have an entire country based on the aforementioned Barrier Peaks and an entire book exploring the various alien worlds in Golarion's solar system, but two of the newest races are literally aliens and robots (The Androids and the Lashunta if you're wondering)!
Technically, the game is "whatever the GM wants". The only explicitly Science Fantasy campaign setting is From the Dark Heart Of Space from d20 Future. Though Dark Matter comes close.
The supplement d20 Cyberscape has a sample cyberpunk setting and devotes two paragraphs and an illustration to a variant with magic and fantasy races.
A relatively obscure, but critically well-regarded, third-party book called the Second World Sourcebook was explicitly written to enable the standard "d20 System" (i.e. 3rd Edition Dungeons & Dragons) and d20 Modern to be used together, mixing and matching characters created under both sets of rules. It posits, among other things, an extensive network of portals between a D&D style Standard Fantasy Setting and our own world. Though that probably sounds more like Urban Fantasy, the results would more closely resemble this trope in practise.
Feng Shui takes place in a universe where robot monkeys coexist with sorcerers and demonic creatures.
The universe of the tabletop roleplaying game Chaos. You know you're in for a case of Science Fantasy when your verse is a Crossover Cosmologymultiverse containing every possible type of universe, but that's just the beginning. Described as “cosmic fantasy”, Chaos is intended to have all the feeling of a fantasy setting, the only thing that makes it not explicitly fantasy is that it just so happens to have sci-fi “props” and window dressing. To quote directly from the book, “Chaos is an over-the-top, epic cosmic fantasy. It's got dragons and spaceships, cyborgs and wizards, knights, aliens, superheroes, gods, demons, time travel, energy weapons, parallel universes, romance, quests, wars, duels, ancient conspiracies, buried treasures and lost artifacts, distant planets, weird creatures, corrupt politicians…and a guy named Mike.”
Similarly, the tabletop RPG Rifts is set a few centuries after the high tech world of tomorrow is utterly trashed by the return of magic. Human supremacist armies of cyborgs and Humongous Mecha traipse across the landscape. Atlantis has risen. Sorcerers summon demons and raise the dead. Rifts in spacetime spew out critters from other dimensions more or less at random. Elves and dragons and goblins (oh my) roam the wilderness. Killer cyborgs from another dimension want to kill all humanoid life on Earth. Gods battle Alien invaders. Vampires openly run entire cities. And that's just the tip of the iceberg.
No really. Think Warhammer plus Warhammer 40,000 condensed to a single planet. That's the level of over-the-top we're talking about, here.
The Phase World and the Three Galaxies sub-setting of the game takes this trope all the way. You have science-based interstellar civilizations (the Consortium of Civilized Worlds) alongside magic-based ones (the United Worlds of Warlock). Technology, magic, psionics and super powers all co-exist in a Standard Sci Fi Setting.... which is currently undergoing a Demonic Invasion.
Monte Cook's upcoming Numenera is inspired by works like Gene Wolfe's Book of the New Sun, and is set in a post-apocalyptic Earth one billion years into our future. The setting, called by its inhabitants the Ninth World, mixes a society with medieval technology with technological artifacts left behind by the previous civilizations that have risen and fallen over the previous billion years. While Monte has said that he is grounding the game firmly in science (or at least science fiction), he has cited Clarke's Third Law to explain the presence of things that would otherwise be at home in a fantasy setting such as "wizards" (Nanos, whose powers are derived from cybernetic implants, extradimensional aliens, or other non-supernatural sources), "gods" (alien entities or ancient AIs), and floating cities (kept aloft by some sort of anti-gravity or repulsor tech).
Fading Suns throws out any distinction between science fiction and fantasy, though the closer the narration veers toward omniscient, the more likely something is to sound like sci-fi. In general, it's a Feudal Future where sci-fi stuff has taken on mystical and fantasy elements. Psis aren't just trained minds, they're sorcerers (and bear occult markings...which may just be genetic mutation); the family's ancestral sword is a wireblade; cyborgs have replaced part of their body with occult magic, and the sacred jumpgates represent the light of the Pancreator. And then you get into stuff such as theurgy and Antinomy, which calls upon what appears to be the divine or demonic forces respectively...but it might also beSufficiently Advanced Aliens, or just another expression of humanity's potential.
Final Fantasy VI had steampunk-esque technology and Edgar's tools, which included a chainsaw and drill. The sand-diving Castle Figaro was treated as using science rather than magic, although it's really not physically possible.
Final Fantasy VII had near-modern cities complete with television, guns, genetic engineering (sort of), electricity, and power plants. However, those power plants ran on the literal lifeblood of the planet, which also produced magic crystals that could teach you magic.
Final Fantasy X has machina, a slightly steampunk-esque technology that can make guns, grenades, mecha, and blitzball stadiums. On the other hand, there's an Eldritch Abomination running around killing everyone and the pyreflies that make up a person can reform into monsters after their death.
Final Fantasy XII has guns and more science fiction like airships than previous titles, but the airships are powered by magical phlebotinum. And all the other magical elements.
Averted with the first two Fable games which were were straight fantasy. Fable III however was in the industrial revolution, while the magic and swords were kept, the two DLCs Understone and Traitor's Keep featured steampunk robots with latter even including a potion to turn your dog into a robot.
Journey. Besides the beautiful sand that submerged the world, glyphs, magical cloth, and the impaired buildings, technology is uncommon at most. You fly using the energy bundled in your scarf, and although there exists an ancient language you can't seem to talk at all, even the game hardly shows any text beside from the logo and closing credits. Singing near large pieces of cloth can release "cloth creatures" from the machines' remnants. Glyphs and confluences teach you the history of a civilization started by your ancestors. The reason why the game takes place After the End is the machines powered by energy from red banners destroyed the world in a war against the White Robes.
Gradius routinely weaves in and out of this, especially in terms of some of the game's bosses, as some are prophecized ancient terrors, while others are elemental beings, like dragons made of fire, or lions made of sand. Supernatural elements routinely come into play as well, especially in the MSX games.
Xenoblade tends to mix the two so thoroughly that it can make one dizzy. The prologue starts with two warring titans whose dead bodies make up the entire world, and then it transitions to advanced Human Aliens (Homs) fighting a war against relentless killer robots. The robots can only be stopped by a legendary ancient sword called the Monado, which turns out to be equipped with a Laser Blade. Then the Monado starts granting the protagonist visions of the future, but that turns out to have a reasonable scientific explanation. Later on the team finds the High Entia, who are a race capable of manipulating ether, yet that didn't stop them from advancing their technology to great levels. It all continues to scalate from there.
Albion, a game where a spaceship in the future lands on a world with magic instead of technology. A lot of the time is spent in primarily fantastic or scifistic settings, but they eventually mix, and both elements are present at least a little most of the time.
Crystalis, a Zelda-esque top-down action-adventure game for the NES, takes place in a post-apocalyptic future where human civilization has regressed to medieval times and embraced magic over technology. The game's Big Bad has taken control of a floating tower and is threatening the world with powerful magic and Lost Technology.
Sacred 2 is a good example, although the barrier between Magitek and actual technology is difficult to define. You have artificial beings (both cibernetic and organic), lasers, lightsabers, force fields, strange energies and Resident Evil-esque mutant zombies in a High Fantasy premise.
Touhou: While the series is fundamentally fantastic, there's still a fair bit of science going on in the sidelines. Most of it caused by the kappa, who are an entire race of mad scientists, but neither of the attempts at nuclear fusion involved them at all.
The greatest example of just how science fantasy the series was may be that for the first five games, the Big Bad and the Big Good were magic-using robots travelling around in spaceships and infiltrating societies with castles, wizards and elves living on worlds created by really advancedMagitek.
Similarly, the primarily high fantasy Ultima and Heretic/Hexen series briefly skirted with SF on a number of occasions, resulting in the occasional raygun, spaceship, time machine, or demonic supercomputer.
The Guilty Gear series of games, set in a future where a new, unlimited source of power has been discovered... called "Magic." Humanoid robots and artificially created killing machines coexist with people who can summon the power of the elements and fight with melee weapons (admittedly, melee weapons which can spit fire and lightning).
The Amiga classic Shadow Of The Beast is set in a Roger Dean-inspired fantasy world called Karamoon, which features sword-wielding orcs, medieval architecture, goblins, morningstars, mechanical claws, jetpacks, and (in the third game) robots.
For a game-series with a fundamentally magic premise (books that act as portals, scribed in an ancient arcane language), the Myst games incorporate an awful lot of sci-fi trappings: transport pods, electronic viewers, spaceships, submarines, giant mechanical engines, alien ecologies, orbital observatories, etc.
Alongside it's many standard fantasy elementsThe Elder Scrolls also feature spaceships used by gods; time traveling, terminatorish robots with laser weapons; and astronauts (the mananauts and Sunbirds of Alinor), and in extension: more spaceships. And this is just the tip of the iceberg.
Also, the realms of Aeterius and Oblivion were originally presented as simply this world's equivalent of Heaven and Hell. Then The Elder Scrolls Adventures: Redguard featured an observatory where the realms of Oblivion appeared as planets orbiting Nirn (the mortal world) and the gods as even more distant planets at the edge of a solar system. So, the Oblivion Gates? Those may or may not be stargates in disguise.
Becomes a bit more complicated when you learn that the planets (and moons) are actually the bodies of dead gods, the sun and probably stars are holes in reality caused by fleeing gods, and that the Dwemer/dwarves were a race of militant atheists who accidentally unexisted themselves trying to gain godhood. Science is literally magic.
Or not. The one factor that really distinguishes TES lore from in-universe texts in other RPG settings is that it is specifically stated (and shown a few times) to be unreliable - things can be either misinterpreted, exaggerated or just plain wrong, and racial/social biases are also part of the lore design (e.g. a Khajit creation myth might be true or just a myth in itself, but when it's retold in a book by an Imperial historian, it's a given that there's misrepresentation/wrong translation and so on present). This basically reflects our real world's inherent uncertainty mythologies and religious beliefs. Hence, planets in TES might really be the bodies of dead gods, but they might also be just that - planets. Same with everything else.
The Unholy War was a strategy game that took this to an extreme, with an army of fantasy creatures fighting an army of science fiction characters.
In the The Longest Journey series, magic and technology once coexisted. Past misues of the two brought the Powers That Be to separate the two into Stark (technology, "our" world) and Arcadia (magic/medieval world). Attempts to alter this balance are what drives the plot.
The Star Ocean series typically takes characters from a science fiction setting, and then plunges them deep into fantasy, while ever hinting at science fiction overtones throughout the stories.
Special mention goes to Star Ocean: Till the End of Time, by having Fayt and Cliff, who're members of the Pangalactic Federation, crash land on Elicoor II, a planet who's inhabitants are a type-3 civilization. Fayt and Cliff go to great lengths to conceal the true nature of their identities to avoid unnecessary trouble, leading to predictable results. Except for the part where they learn that their universe, and everything in it, is one big virtual game!
Starting around the sixth game in the series, the Wizardry games dove head-first into combining fantasy and sci-fi, where spells, magical creatures, and arcane artifacts are found hand-in-hand with spacefaring aliens, starships, and advanced energy weapons.
Wizardry VII was the first of the series to embrace this trope-while the party is firmly grounded in fantasy, and the world seems to be with the full range of usual fantasy creatures and items, there's also the fact that the party arrived on the world by a starship, the Big Bad has a robotic army, two more alien races are engaged in a power struggle over the planet from their landing zones, and one of the native races travels around in rocket-powered aircraft.
Wizardry 8 takes this to an even more extreme bent, where powerful magic and advanced technology happily coexist-you'll see sophisticated artificial intelligences talking happily with wizards, flamethrowers and rocket launchers wielded by elves, and an alien airbase guarded by potent technological and magical defenses.
Warcraft 'verse's technology is roughly at pre-industrial level, where guns are getting common, but swords and bows are still viable. However, the range of technology available is quite large. Rock axes can down demonicHumongous Mecha, and Death Rays can be used against ancient evil gods. And the dimension-hopping giants that ride around in spaceships.
Septerra Core wandered back and forth between the two, blending such elements as Steam Punk technology, magic fueled by the planet itself, genetic engineering and a pantheon of gods.
The Ar tonelico series features girls who control magical powers with their songs and goddesses who control the giant towers that humanity has been forced to live in after a disaster destroyed the world's land. The backstory of the series reveals that this disaster was caused by the technology of a highly advanced civilization. The towers themselves were built by these civilizations. The villain in the first game invades the tower's systems with viruses that can take physical form and possess many of the tower's robot guardians. The magic wielding girls themselves are actually an artificial race designed to use magical powers based on the intricate principles of "wave science."
Doom features an invasion by demons from hell ... thwarted by a space marine on Mars with a plasma rifle.
Demons with cybernetic implants. One of them is called Cyberdemon.
The Mortal Kombat universe also combines elements of both science-fiction (cyborgs, advanced weaponry, parallel dimensions, spaceships) and fantasy (magic, dragons, gods, demons).
Arcanum: Of Steamworks & Magick Obscura is a mixture of more specific genres: High Fantasy and Steam Punk. The overarching story is fantasy epic, set in a more dystopian land that includes race and class conflict and the growing pains of an industrializing society as themes. Magic vs. technology is less a war than an ideological clash that can at least find common ground in its goals if not its practical methods.
Metro 2033 takes place in a fairly standard Grim Dark version of After the End, with hostile mutants, scattered human survivors, and a climax that involves using pre-cataclysmic weapons. There are also enough murderous ghosts for one of the characters to have a theory on them (Heaven, Hell, and Purgatory were also atomized), including a bona fide Afterlife Express.
The sequel takes this even further at one point, actually throwing a player into a hellish supernatural dimension where one of the game's big moral choices takes place. Also features a legitimately haunted airplane wreck.
The Sonic the Hedgehog franchise in general. The series is a big fan of robots, machinery, and at one point artificial life-form creation, but it also contains many supernatural elements like the Chaos Emeralds and gods.
Geneforge is another examples of this. The Shapers are a sect of wizards who can literally create life, but the methodology is strongly implied to be at its heart pure sci-fi. Most of its machinery is explained as being carefully designed semi-living creatures that, for example, shift to open a door when someone approaches, or release a cloud of spores that signals other creations to, say, not explode. You've even got General Alwan, who's kept alive by what is basically intravenous magic.
Sa Ga 2 is a fantasy game with sci-fi elements. It's centered around gods and the ancient stones called MAGI that give them power, but heroes and enemies include robots as well as magical creatures and humans. Weapon stores sell heavy assault guns alongside swords and spellbooks.
In Sa Ga 3, the heroes fight against evil gods to recover the missing parts of their time machine.
The Guild Wars series flirts with this. It's hinted that the Mists are actually something akin to Hyperspace and the humans and Forgotten are confirmed to have been brought to Tyria from another planet by the gods (who may or may not be Sufficiently Advanced Aliens). The charr and asura races, on the other hand, are racing headlong into this trope from the other direction - the asura have magitek with a definite sci-fi feel, while the charr are in the midst of an industrial revolution and continuing to advance at a breakneck pace.
inXile's upcoming Torment: Tides of Numenera is a spiritual sequal to Planescape: Torment, and is based on Monte Cook's Numenera tabletop game (mentioned above). The far-future post-apocolyptic setting uses sufficiently advanced science and technological artifacts left by the previous civilizations that have risen and fallen on the Earth over a billion years to explain traditional fantasy tropes.
Destiny definitely belongs in this genre, with wizards, magic, souls ripping from the bodies of deceased enemies, and necromancers existing in a universe teeming with time-travelling robots, aliens, and spaceships. Bungie has even described the game as being "mythic science fiction".
World of Warcraft Where you can have a mage that can teleport, cast spells, ride a variety of mounts on the ground, from a normal horse, to a demonic unicorn, to a motorcycle on the ground and anything from dragons, to flying carpets, to a rocket in the air. Druids who can turn themselves into a bird. Heck, engineering is a profession, where you can make your clothing produce rockets and bombs if you want to.
WildStar is this and a Space Western. Instead of wands, the wizards use dual mag pistols and are called Spellslingers. They also have nuclear-powered greatswords, among other things.
Girl Genius is steampunk combined with fantasy. Most of the weird stuff can be explained by technology, but not everything. The magic includes stuff like the river Dyne (which is an apparently natural spring the waters of which make the drinker a mad genius, though in most cases it's instantly lethal), Geisterdamen (ghost-like beings), Frankenstein-esque reanimated corpses, Jaegermonsters (non-human beings with superhuman strength and lifespans who are former humans who drank the "Jaegerdraught"), multiple cases of Brain Uploading, the castle Heterodyne's seemingly telekinetic ability to move chunks of itself...
Gunnerkrigg Court: There are robots and other advanced tech in the Court, while the Gillitie Wood is full of magic-users (including Physical God Coyote). Transformation to/from forest creatures is an accepted part of the universe, and the Court has students and teachers skilled in "etheric sciences".
The Dragon Doctors make heavy use of magic, but always use it rationally and scientifically (their leader even calls herself a "Magical Scientist"). LEGO Genetics are referenced at one point as being only possible with the use of magic to treat traits as conceptual objects.
The Crushed subseries of Supermegatopia is technically the result of a space explorer using Sufficiently Advanced Technology to make a medieval fantasy world. This later gets ruined by the Ragnaracoon, and mixed into an unapologetic mishmash of high technology and high fantasy called Meshworld.
Broken Space (site) features aliens, demons, clockwork, steam-power, magicians, guns, swords, strange Magitek weapons, and divinely powered starships.
El Goonish Shive has genetically altered super-mutant assassins, aliens, mad scientists and many magic users, several of whom are main characters. Oh yeah, and one of the magic users can create a fairy version of herself, and Tedd's been hacking a Magitektransformation ray gun since 2002.
Last Res0rt is set several thousand years into the future, contains nanotechnology, flying robots, and a galactic society... and also contains lots of creatures that run off of soul-based magic, including vampires, djinn, and zombies. Also, furries. It's labeled Cyberpunk — but it's about as Cyberpunk as, say, Shadowrun.
Homestuck revolves around a very advanced game that Plays You, is set in a world in which everyone has their own videogame-esque abstract inventory systems, and features a lot of robots and cyborgs, but it also plays around heavily with fantasy tropes and themes such as princes and princesses, knights, dragons, quests, and magic.
Matt N Dusty is this mixed with World of Weirdness and Law of Conservation of Normality, and is a complete straight-up comedy. Robots are voiced by the text-to-speech function in Moonbase Alpha, there's a giant pink dragon that bakes cookies, the two titular characters survive the apocalypse and prevent it with a Stargate, Playstations and Xboxes have apparantly been in a Robot War for centuries, and to top everything else off, Interdimensional Jack Benny as Father Time.
Animated Urban Fantasy web series Broken Saints uses a lot of the technology from (probably) Twenty Minutes In The Future, and just labeled "state-of-the-art" in-story. However, it also includes Shandala's powers of healing and... not-so-healing..., and Kamimura's ability to Soul Jar his pupil, holding a fragment of said pupil's consciousness within his own mind. While the first ability is revealed to be part of her genetic design (very sci-fi), they are both firmly in the fantasy realm.
While most of Chaos Fighters novels are fantasy with minor science fiction elements inserted in the fighting scenes, Chaos Fighters II and Chaos Fighters: Chemical Warriors are science fiction with significant fantasy style battles.
ThunderCats has space travel, futuristic vehicles and the like, but also features a magic sword used by the hero and an undead Sorcerous Overlord as the main villain.
Gargoyles has laser weapons, robots, biotechnology along with pseudo-gods, fairies and ghosts (Oberon's children) as well as various other mythological creatures.
The Venture Bros. had a Magic Versus Science contest between Dr. Venture and Dr. Orpheus (a parody of Dr. Strange), reaching its climax as Orpheus produces fire from his hands. Dr. Venture's scientific one-up? A lighter.
Adventure Time has goblins, futuristic robots, princesses, wizards, hologram projectors, magic, and mini-anti-gravity chambers. All in a post-apocalyptic Earth.
Winx Club focuses mostly on magic since the main characters are fairies with all sorts of magic powers such as fire, natue, or light. Fairies, witches, and wizards dominate the series. The Magic Dimension is also shown to have advanced technology such as laser guns, inter-planetary spaceships, advanced holograms, inter-dimensional phones, and the like that don't seem to rely on magic at all. Tecna is the fairy of technology, showing that magic and technology can be used together.
Energized Protodermis, the universe's most powerful substance that can either transform or destroy whatever it touches. What you get is based on destiny. Oh, and it's sentient.
The Makuta, a race designed to be genetic engineers, but do so by mixing potions in a cauldron.
The origin of the Makuta. They come from a pool of slime containing their unborn, bodiless spirits — sounds fantasy enough, right? But those "spirits" are really preprogrammed artificial intelligence, and the liquid is just a strange data storage device.