The original literary series
- Cult Classic: To the point that there are even people in the world who try to model their life on the ideals presented in the series.
- Family-Unfriendly Aesop: Women are nasty, bitchy feminists when given any respect whatsoever. Only when raped and forced into slavery can they become loving, gentle and kind.
- There are several cases in the books where a woman is raped, bound, stripped, or otherwise undergoes some sort of sex-related humiliation. This invariably makes her more gentle, more feminine, and overall more pleasant to be around. To hammer the point home, she's often shown as being happier once she's been properly raped and put in her place.
- This may be based on the traditional portrayal of Black slaves vs. White upper class females in the Old South, given how the book series started in the politically-turbulent 1960s. The traditional view was Black women were either sexually promiscuous, or sexually exploited by owners and overseers, or both, while the White elite had to maintain proper standards in their personal life, avenging their frustrations and jealousy on helpless slaves.
- Fridge Horror: Some points about the slave girls:
- We never see an old slave girl. They supposedly have anti-aging treatments that prolong human life for centuries if not indefinitely. So, their looks might not fade for a long time. Of course, they're instead stuck in a life where they're used as human sex toys for multiple human lifetimes with little chance for freedom and the ever present fear of death by capricious jerks and likely conditioned to enjoy that sort of life, which is probably even more horrifying.
- Curiosity and emotional control are stamped out of slaves, and they're also forcibly given birth control. So in essence, being a slavegirl is a form of physical and mental Creative Sterility.
- Against all of this, there is the Gorean concept that when the right master and slave girl end up together, they will both be fully satisfied with the relationship - and have many centuries to enjoy it. This is the denouement of Captive of Gor, Slave Girl of Gor, and the other girl-protagonist stories, and a number of other master/slave relationships seem to be heading that way in other books too. Essentially, true can only be found by putting the right master with the right brainwashed sex-slave, who's clearly in a position to decide what she finds "fulfilling."
- A meta example, but many people are disturbed to learn that John Norman's day job is as an ethics professor.
- Ho Yay Shipping: Some readers find men embracing men automatically homosexual, so they get a lot out of the books.
- Internet Backdraft: In 90% of the internet, a mention of Gor is equivalent to trolling, unless followed up with scathing hatred and opening the floor to burn John Norman in effigy. It is a banned topic on the StarDestroyer.net forums.
- Marty Stu: Tarl is one of the most obvious ones ever.
- Mary Sue Topia: The trope could be named "Lands of Gor" instead.
- Snark Bait: One of the main reactions by most to the ideals behind the series, followed closely by horror and/or hatred, and considering the premise of the series...
- If Houseplants of Gor is any indication, Gor is just begging for an Abridged Series.
- Gay, Bejeweled, Nazi Bikers of Gor.
- Somewhere out there is a fan novel called Transvestites of Gor with a followup called Female Men of Gor. Fans at conventions used to joke about Podkayne of Gor, but it's uncertain whether that one actually exists.
- Values Dissonance: Tarl expresses this himself throughout the first books, when he's still a Stranger in a Strange Land, less and less as he adapts. Then in the late series, he and a few other Masters clinging to their values refuse to see that the world is changing, and keep insisting that it's wrong.
Outlaw (of Gor) and the Gor movie series
Queen: Get OUT of here, you DISgusting WORM!
- The Scrappy: WATNEY!
- Sequelitis: The first film at least gives the impression of being made by people who were trying to make something halfway decent. Outlaw, however, comes across as just a bunch of action sequences loosely tied together by a Random Events Plot, along with being generally cheap and poorly-made, even by comparison to the first film.
- Special Effect Failure:
- In the first film, the sequence where Cabot is sent to Gor cuts between studio shots of him driving through a thunderstorm at night, and location footage showing his car driving along on a bright, sunny day with only a day-for-night filter attempting to give the impression of a storm. Outlaw somehow manages to be vastly worse, just having Cabot's car being rocked by a couple of stagehands, after which we get a smash-cut to him and Watney being on Gor.
- The climax of Outlaw has the hunter throwing a spear at Queen Lara with some force... followed by a shot of someone off-screen very gently prodding the spear into Lara's abdomen.
- Take That, Scrappy!: Even Outlaw seems to have been aware of just how annoying Watney was, as evidenced by the ending where the ring ends up sending Watney back to Earth alone without Cabot, who finally gets to be with Talena, while Watney ends up having to explain to some cops why he's jaywalking in the middle of Los Angeles dressed in a ridiculous outfit.
- What an Idiot: Upon finding the King's dead body, Cabot pulls the knife out of his back and then runs out of the room with it in his hand for all to see.