Follow TV Tropes

This is based on opinion. Please don't list it on a work's trope example list.


Mary Suetopia

Go To

Nog: It's not my fault that your species decided to abandon currency-based economics in favor of some philosophy of self-enhancement.
Jake: Hey, watch it. There's nothing wrong with our philosophy. We work to better ourselves and the rest of Humanity.
Nog: What does that mean, exactly?
Jake: It means... [Beat] ... it means we don't need money!
Star Trek: Deep Space Nine ("In the Cards")

Also known as a Straw Utopia, everything is perfect in this ideologically pure country. Everyone lives a comfortable lifestyle, poverty and crime are not noticeably existent, people are friendly and well-behaved, and the trains run on time. The society works, and any historical or economical references to why it shouldn't are either ignored or waved off as examples of not doing it right.


Often, the author will make a society such as this work just too well to be believable and will even gleefully punish anyone who deviates from the society's core ideology to "prove" that ideology's superiority; in fact the only time you'll actually see anyone in any kind of distress in the Mary Suetopia is when they try to break with the society's core ideology. Frequently, the biggest external threat to the Mary Suetopia will be an aggressive neighbor whose social-structure represents a Strawman Political version of the philosophy most diametrically opposed to that of the Mary Suetopia, namely a Straw Dystopia.

Note that there is no reason to assume that it isn't possible to create a better society. Thus, some of these utopias might actually work. However, the distinctive characteristic of a Mary Suetopia is that it goes beyond just being a perfect society - it's a perfect society filled with perfect people, who show enthusiastic support for the author's society's ideology. For example, maybe no one is poor unless they don't adhere to the core ideology. Anyone who disagrees with that ideology is misguided at best and evil at worst, and by the end of the story they will either suffer a horrible fate or give up their old ways and embrace the One True Path.


In many cases, the author just uses the "utopia" as an excuse to step up and preach their little heart out. The author may even take the opportunity to explain why their "interests" don't deserve such a bad rap. If this is included in a work in the fantasy genre, the culture will invariably be some breed of elf. Often the Mary Suetopia serves as the setting for an Author Tract.

Named for the Mary Sue, the personified equivalent of the Mary Suetopia. In many cases, this is sort of the Creator's Pet effect, but extended to an entire setting rather than one particular character (although characters from Suetopia are at high risk of becoming the Creator's Pet.)

See also Crystal Spires and Togas, Perfect Pacifist People, Utopia Justifies the Means, Sugar Bowl, and Utopia. Contrast with Dystopia, and Quirky Town. When a Real Life society is portrayed as this, it’s Politically Correct History or Patriotic Fervor. The polar opposite of Crapsack World. Compare Alternate History Wank. Mary Sue Dystopias which are unrealistically efficient may shade into being No Delays for the Wicked.



    open/close all folders 

Examples of Straw Utopias

    Anime & Manga 
  • Parodied in the form of Magical Land in Magical Witch Punie-chan. Sure, on the initial surface it looks like a Mary Suetopia, with fantastic magical architecture and things with disgustingly cute names. However, dig a little deeper and you'll find that only the royal family (and perhaps a few nobles) actually lives in comfort, and everyone else lives in poverty under the oppressive hand of the Queen.
  • Mitsuo Fukuda, the director of Mobile Suit Gundam SEED and Mobile Suit Gundam SEED Destiny, claimed in a 2003 interview that Orb was supposed to be his ideal Japan:
    "That's just an ideal. Japan that is. However, they weren't occupied. Think about it, in order to be ruled you need massive military power and that's troublesome." — Mitsuo Fukuda, on the meaning of the neutral country Orb

    Comic Books 
  • Mobotropolis, Echidnaopolis and Albion in Sonic the Hedgehog (Archie Comics) certainly fit the bill here, especially under the penmanship of Ken Penders. Albion and Echidnaopolis were both shown to be technologically-advanced civilizations that would rather not give two shits about either Robotnik War, deeming it beneath them. Even after the second Robotnik, Dr. Eggman, caused Angel Island to crash to the ground to power the creature Chaos, they still didn't bother. As for Mobotropolis, they were shown to be a peace-loving group eschewing the use of guns after one simple incident, viewing Overlanders (humans with just four fingers) as nothing more than vile brutes and any attempts for peace were stomped by various forces. Under the penmanship of Karl Bollers, Eggman would go on to surpass the echidnas technologically and raze Echidnaopolis to the ground. Under Ian Flynn's penmanship, it would be revealed that Albion was also destroyed by Eggman, thanks to the manipulations of the mad echidna Dr. Finitivus, and that Mobotropolis, for all of its peacefulness, were led by usually inept rulers guided by a force that would override common sense. In fact, even after the monarchy turned into a republic, it was shown that most (four out of seven) of the councilors had some grudges with the royalty. To say nothing that those same four councilors just aren't the kind of people you'd want to have a position of government, having very little leadership experience and questionable mental health.
  • Wakanda from Black Panther has elements of this that vary from minor to being played straight to an infuriating degree, Depending on the Writer. To wit, at its very base it's an isolationist African country which is impossibly wealthy due to the huge amount of Vibranium they possess and their technology is better than the rest of the world's, despite the fact that they deliberately maintain a "traditionalist" attitude that sees them, for example, still wielding spears and shields (made with super-tech, admittedly). Somehow, it usually manages to be racist by being both straight-up Darkest Africa and played as so positive it comes right around the other way.
    • This is most notoriously emphasized under Hudlin, most particularly for one fact: they have the cure for cancer... and they refuse to share. While there could be reasons for that (humans in the Marvel Universe are capable of weaponising almost anything, and willing to do it), this is just the tip of the iceberg.
    • Christopher Priest went some way towards mitigating this (and explaining why they haven't simply conquered the world) by depicting Wakanda as a chaotic ensemble of warring tribes and rival groups that spend most of their time fighting each other for control of the country.
    • The animated series Iron Man: Armored Adventures also strove to avert this by portraying them as a nation of racists with absolutely no contact with the outer world (none of the other countries wants to bother dealing with them) and severely messed up in terms of economy.
    • In the second of the Ultimate Avengers films, Wakanda owes its success because a Chitauri ship crashed there and they have reverse-engineered its technology, though they are still not able to singlehandedly defend themselves against the returning Chitauri and need the Avengers' help.
    • Played almost teeth-grittingly straight in The Avengers: Earth's Mightiest Heroes!, with Black Panther being the team's resident Gary Stu — he's better at technology than Iron Man, as powerful as Captain America, and knows just as much as The Mighty Thor does, if not more, about spells and magic. Wakanda itself has the world's greatest technology (repeatedly outclassing Iron Man's with ease), still controls magic, is the world's only source of the Un Obtainium called Vibranium, refuses to interact with the outside world at all, is so powerful it singlehandedly repels Kang's attempt at conquest during the first season, and yet still practices the traditional laws out of Darkest Africa (like the right to challenge the current king to a fight to take control of the country, though by the end of "Panthers Quest", T'challa abandoned this tradition for democratic legislature after overthrowing White Gorilla.).
    • Recently, though, other events have started to pull Wakanda away from this sort of depiction beyond what Priest has done. During Doomwar, the collective force of the Black Panther, the Fantastic Four, some of the X-Men and Deadpool are only able to recollect about 5% of the vibranium Doctor Doom stole before T'Challa was forced to render the rest inert. Then came Avengers vs. X-Men which had Namor, powered up on the Phoenix Force, flood Wakanda with a tidal wave, bringing it to absolute ruin.
    • In the All-New, All-Different Marvel relaunch of the Black Panther title, Wakanda is returned to its pristine form, but we're shown another facet of what's going on as we're shown a hi-tech country with archaic laws. When a few women are imprisoned for attacking their would-be rapists, including the wardens of prisons for women, they've had enough and turn rebel.
      • This then leads to T'Challa destroying the country's supply of Vibranium... in order to make his people step up and get better. Which they proceed to do by conquering a giant space empire practically overnight, complete with building a City Planet called Bast to serve as the empire's "throneworld". Though, to be fair, said empire is depicted as the villain of the story.
  • Latveria, also from Marvel Comics, is generally portrayed as being an okay place to live. Crime and poverty are virtually non-existent, the population is generally well-educated, and it's classified as a First World power despite being a stereotypical rustic European country. What stops it from being an actual example of this trope is the simple fact that the ruler of the country is Doctor Doom. Crime is non-existent because of the omnipresent robotic legions under Doom's command, the well-educated population better serves when Doom needs scientists (and doesn't trust outsiders), and Latveria's economy and status as a First World country are entirely dependent on Doom's presence. On the occasions when Doom is overthrown or missing, things break down very, very quickly.
  • The Phantom has the Fire Peak Tribe, who live in an underground city in the volcano of the same name. The volcano provides them with abundant natural resources such as groundwater, minerals and heat. The tribe has technology that is at least on par with modern technology and arguably superior to it in some aspects, allowing them to take full advantage of said resources. Despite their environment, they have clean air due to being able to purify out the toxic gases and vent them to the surface. They have no aboveground farmland, instead growing all the food they need in greenhouses. It's explicitly highlighted that they have so much energy that they can leave the lights on at night. The tribe has sent scouts outside for centuries and thus knows all about the outside world, but have themselves never been discovered (until the Phantom and Diana stumble across them). What's more, the leaders claim that they even have no crime, war, poverty or any other social ills present in the outside world.
  • The cartoonist Rius, before 1989 portrayed any Soviet Communist country (but above all, Cuba) as this and as an example to follow ("there is no poverty, no unemployment, no drug addicts, no bums, no hobos, no children without schools, no prostitution..."), after that, it has Zig-zagged between depicting them as Crapsaccharine Worlds and Ye Goode Olde Days.
  • New Crystal City from IDW's Transformers Drift miniseries qualifies. A bunch of refugees lead by peace-loving samurai settling into an underground city where nobody is poor, nobody is hurt, no social classes exist and everyone gets along perfectly fine and there are no problems finding any sort of energy source (in spite of the lack of readily-available Transformers-compatible energy being the main driving element behind a lot of IDW Transformers tales), unlike elsewhere in the cosmos where the evil Decepticons and the just-as-evil Autobots (or so author Shane McCarthy would have you think) wage their war. Notably, this entire plotline was mostly abandoned, with good reason, really.
    • Various authors have been revisiting the setting, coming up with actual explanations for the city's energy reserves and more seriously considering how a group of a strict pacifists would be viewed within the context of the Autobot-Decepticon war. Optimus Prime, for example, views them and their leader Dai Atlas as a dangerous cult filled with selfish, holier-than-thou jerks. He notably holds this opinion even millions of years later when his response to the destruction of New Crystal City essentially boils down to, "Serves them right."
    • Notably, in the More Than Meets The Eye series the biggest flaw with New Crystal City is pointed out: they were such a hidden city that when a massive force of attackers came there was no one who knew or cared to come to its aid. When the crew of the Lost Light under Rodimus Prime decide to come by (because Drift is a high-ranking member of the command crew), the place is a deserted ruin. By the time the Lost Light stumbles upon the base where the survivors have been held prisoner, 90% of the population are dead from abuse and experimentation by the Arc Villain.
    • Subverted by IDW's version of Velocitron. When a delegation consisting of Knockout and Moonracer arrives from the colony, the former is quick to boast about how the Velocitronians have no major problems they need help with and have long since closed themselves off from the rest of the galaxy to focus on their favorite pastime of racing. But Moonracer soon admits that this isn't true, revealing that Velocitronian society has become increasingly elitist as their racing obsession has evolved into a kind of Fantastic Racism with slower Velocitronians being looked down upon as inferior and Moonracer herself mentions that she's disparaged simply for choosing to drive off-road instead of on the colony's racetracks.
  • 2015 A-Force deconstructs it. Arcadia is a supposed feminist utopia, but the book quickly shows how this paradise is meaningless and undermined by the fact that it's a single bright spot in a Crapsack World and subservient to its despotical ruler.
    • A mini-series within the same crossover event, "Where Monsters Dwell", showcases a Nubile Savage (pretty much all clones of "Shanna the She-Devil" as she appears on the mini-series by Frank Cho) feminist Mary Sue-Topia, invincible in combat, all women are empowered and the like... the deconstructive twist is that it's a place only a sociopathic Femme Fatale would actually love.
  • Superman: Red Son has no less than two and manages to deconstruct both.
    • The first is Superman's Global Soviet Union, which comes to dominate all of the world by 2001 save for the former United States. Here, according to Superman, every adult has a job, every child has a hobby, everybody has a full eight hours sleep, crime doesn't exist, accidents never happen, it doesn't even rain unless Brainiac is sure everyone has an umbrella. Almost six billion citizens and hardly anyone ever complains, even in private. Of course, all of this is only possible because of Superman's super-senses and his policy of lobotomizing troublemakers. However, Lex manages to shake this with his Armor-Piercing Question, and Superman realizes he's no better than Brainiac. "Another alien bullying a less-developed species."
    • In Lex's Global United States, things are even more perfect. He creates a One-World Government composed of writers, artists, philosophers, and scientists; all diseases and even sleep are eradicated, human lifespans extend to 800 years, the triple replaces the couple, the solar system is fully colonized, technology allows people to set foot in the afterlife, and humanity becomes the most advanced race in the known universe thanks to the billion-year-long Luthor lineage. But, in the distant future, Earth is about to be consumed by its growing red sun and the leaders of mankind along with the populace are too prideful and apathetic to care about. As Jor-L puts it, they "have nothing left to do but die." Jor-L sends his son back in time to make sure humanity never becomes "this cold complacent lot", ironically setting the stage for it to become exactly that via Stable Time Loop.
  • Krakoa, reinvented as a nation for mutants in X-Men (2019), is slowly shaping up to be this. It has a lot of clear benefits: mutants have worked out how to bring back their dead, effectively granting themselves immortality, they have miraculous medicine they freely share with the world and it finally looks like mutantkind has a place to really come into its own as a culture. However, fans have noticed various cracks in the foundation, and some of it is due to realistic outcomes to trying to actually build a utopia; their laws are arbitrary, they've granted amnesty to all mutant criminals, even genocidal villains, and their culture is explicitly running on a belief in their own superiority to one day surpass baseline humanity. Even the benefits have negative undertones; they're showing too cavalier an attitude about death being cheap, even taking it for granted and requesting modifications be done to their resurrected bodies, and realpolitik comes up in that their medicine is largely a bribe for the governments of the world to validate them as a nation. Some stories are about the Dirty Business to secure their future, developing ways to spy on or eliminate potential threats.

  • The fact that Merodi Universalis, in Songs of the Spheres, is and remains viable despite all odds and all knowledge of economics or sociology turns out to be a part of a major plot point: it's because they're the protagonists. Once the Dark Tower starts to collapse, it becomes clear to everyone that the economic system — or lack thereof — isn't going to stick around for much longer, nor is any sort of equilibrium.

    Films — Live Action 
  • Avatar: Pandora. The movie and book state that the Na'vi society is utterly idyllic - they are so blissfully happy that they have no needs or wants, can't be offered anything because they already have everything they could possibly desire, have birth control so they never expand enough to damage the environment, much less come into conflict with other tribes over resources, and more. Part of how they are shown to be better than humans is they don't have to destroy the environment to fulfil their needs, everything they could ever want or need, up to and including flight, is provided by nature.
  • Dances with Wolves's merry Sioux are a Gary Stu-topia. They're communists, 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 Always Chaotic Evil 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.
  • Pleasantville is a thorough Deconstruction of this trope. Main character David thinks that the titular town, which shares its name with the television program in the film, is this: everything seems happy and idyllic, the town is permanently in the "nice" part of The '50s (no greasers/rock 'n roll/war, etc.), and all problems are resolved in thirty short minutes. But when David and his sister Jennifer are sucked into the show, he discovers just how miserable it is: none of the books have any print in them, everybody's happy because they're mandated to be, nobody has any sex whatsoever (to the point where Jennifer teaching her sitcom "mother" to masturbate and experience orgasm for the first time causes a nearby tree to burst into flame), and the town's Main Street ends in a circle—there's no getting out of it whatsoever. By the end, David and Jennifer have transformed the town into a place that's not nearly as perfect, but much more human and genuine.
  • Star Trek: Insurrection has the Bak'u, who live on a planet with fountain-of-youth powers and espouse a technology-free society. They still use all pre-industrial technology though, making them not as "primitive" as they'd like to claim.
  • The 1936 film Things to Come takes "Everytown" (obviously London) from an alternate 1940 to a sort of proto-Bartertown, challenged by the heroic black-clad aviators of Wings over the World — a council that eliminates things it objects to (such as private aircraft and "independent sovereign states"). Everytown finally morphs into a shining white-and-crystal Mary Suetopia where everyone wears white togas, where a character says he has the right to speak and be heard because he's a Master Craftsman, where an old man explains to his great-granddaughter about the bad old days when houses were built above ground and actually had windows — and where anyone who has any qualms about this is explicitly and specifically opposed to "Progress", thinks "Progress" is a bad thing, and wants to put a stop to it once and for all. The book upon which the movie was based was essentially the same, albeit told in the form of a very long alternate-history essay.
  • The 300 version of Sparta makes the city-state into this trope, where all the men are perfect warriors (except for the evil Smug Snake types), all the women are perfectly beautiful and the rest of Greece respects and fears them. Note that some of the unpleasant aspects of Spartan society (infanticide for the weak, Training from Hell for children, a culture of warfare) are presented as being part of the utopian ideal, while other aspects of their culture are carefully avoided (institutional slavery, pederasty, religious zealotry) to make them more sympathetic to modern audiences. Probably intentional since it was based on ancient propoganda.
  • The Wakanda of Black Panther (2018) zigzags this. On the one hand, it does have extremely advanced technology and universal healthcare, amongst other things. But, internally, it's still a very tribal culture, which causes a lot of internal politicking, it's pointed out that it has made mistakes, and even its military might is not unquestioned, with characters in the film observing that the outer world not only has the advantage of numbers, but is actually closing the technological gap. In some ways, the movie actually addresses the more problematic depictions of Wakanda in the comics, showing their nationalism and lack of concern for the outside world as causing misery, and the Killmonger crisis served as a tremendous wake-up call. There are also rather severe problems with the royal family, both in terms of organizational structure and in its history: several of its members have done...questionable things (i.e. N'Jobu was willing to let many of his own people be murdered as part of his and Klaue's plan to steal Vibranium, and T'Chaka was forced to kill his own brother in self-defense when he discovered this), and the Wakandan electoral process allows a deranged and murderous outsider to singlehandedly take over the country and the throne.

  • Discussed in J. Neil Schulman's Alongside Night.
    "You mentioned something about a Grand Tour?" Eliot asked.
    Harper smiled. "Oh, that was just my little joke. In any proper utopia you're always given the Grand Tour. You know: 'Here is the food-production facility. It produces three times the food of the old, reactionary system, with just one third the effort!'"
    "I take it this isn't a proper utopia?"
    "I'm afraid not."
  • Atlas Shrugged: Galt's Gulch would definitely fit in this category. This remote Colorado valley has ample iron and copper ore in the nearby hills, not to mention petroleum reserves underneath. The soil is apparently capable of growing any type of crop, regardless of climate conditions (it is mentioned that coffee beans are imported). The founder has a magical device that creates electricity from nothing (there is a static electricity Hand Wave mention), said device provides all the power the Gulch uses, including a kind of cloaking device that shields the valley from outside view. The few hundred or so people that inhabit this magical land, are more than enough to create multiple industries capable of sustaining all the machinery necessary (including airplanes, tractors, not to mention that the heroine will be able to start a railroad business soon enough).
  • Sendaria from David Eddings' Belgariad and Malloreon series comes pretty close to this. They elected their first king, and they're easily the most practical and sensible of all the races. The people are honest and have a strong work ethic. Oh, and they pay equal respect to all the gods rather than only picking one. However, it is also hammered in by the books that they have no military to speak of, and the only reason it has not been gobbled by one of its neighbors is that Belgarath and Polgara arranged it to be protected by the Roman Empire Expy culture Tolnedra.
  • Ironically reversed in a lot of dystopian fiction, like Aldous Huxley's Brave New World. The world first appears perfect, till it becomes horribly clear it's not.
  • Edward Bulwer-Lytton's novel "The Coming Race" is a typical example, with its description of a subterranean society so perfectly organized and technologically advanced that it does not know any conflicts, even between the members of the society (which could be terribly destructive, since each controls a mysterious energy called vril, capable of destroying the entire world in which they live). Social perfection is so great that it dulled the artistic spirit and the intellectual manifestations of the members of the community, whose cultural manifestations are all repetitions of ancient traditions for which they do not see much sense, beyond childish entertainment. Still, all the individuals in this society are beautiful, tall, strong and self-controlled. Yet, in this underworld women are more perfected than men, and therefore, they are more beautiful, taller, grander, stronger, wiser, and self-controlled than men, which would contribute to greater social harmony.
  • A Court of Thorns and Roses has the Night Court, or at least Velaris. It's a beautiful city that was kept hidden from Amarantha and so was left untouched by her reign. It's one of the most progressive places in Prythian (such as having better opportunities and treatment for women and non-High Fae), almost resembling a modern city in a roughly medieval time period, with shops, cafes, bars, museums, art galleries etc. The Inner Circle are adored by the people and anyone who dislikes or disagrees with them are usually either villains or misguided. Despite being a port city and relying on trade for its economy, no outsiders have ever learned of its existence (which is handwaved by magic wards). That said, there are apparently still issues with poverty and poor housing given Nesta is depicted living in a rundown apartment complex, though the rulers 'resolve' this by evicting everyone, bulldozing the apartments and building a refuge. It's worth noting this apparently applies only to Velaris; the only other places in the Night Court we get to see - the Hewn City and the Illyrian camps - are misogynistic hellholes that thrive on cruelty and violence, with High Lord Rhysand making minimal efforts to resolve their issues despite espousing equality and compassion. Velaris is in fact kept hidden from most of the Night Court as well, so only certain 'elite' Night Court citizens get to live there.
  • Richard M. Wainwright's The Crystal Palace of the Adamas has Adamas. The main character, Janus, lands on this planet and discovers a peaceful, harmonious society. The family that takes him in has all generations living under one roof, they grow their own food, educate their own children and seem to be at one with nature. Janus contrasts this with his own planet Segatum, which is overpopulated, technology-dependent and has no natural spaces left. However, we later find out that the Adamians DO have modern technology (which they got from visiting earthlings), except they only use the kind that they deem useful (like medicine) and not the kind that they deem trivial (like television or cars).
  • Greg Egan's novel Diaspora has the posthuman Coalition of Polises. An assortment of anarcho-libertarian utopias, where the inhabitants are immortal, have cognition that is so accelerated that they experience one-thousand subjective "days" over the course of one chronological day, have "children" via software recombination, never kill each other or war with fellow cities, and have no environmental concerns because their population size is static over the centuries. They reproduce, never age, are accelerated 1000-fold, and have a static population size over centuries. The only way to die is by choosing it. To quote: "Death meant suicide. There was no other cause."
  • The Harshini in Jennifer Fallon's Demon Child and Hythrun Chronicles series are immortal, uniformly beautiful, perfectly polite, and constitutionally nonviolent.
  • James Gurney's Dinotopia novels:
    • Humans of all races and all manner of dinosaurs and other prehistoric animals live and work together in harmony. There is no money, no war, everyone is vegetarian, eating fish at most. Those predators that don't integrate with society do make crossing the Rainy Basin hazardous, but they are intelligent and easily bought off by offerings of fish, and never stray out of the Basin to wreak havoc. Everyone does what they want to do, most of it meaningful work, humans live for a very long time due to special herbs, the few sour notes are all provided by the few rebellious people. But Gurney's Dinotopia books are beautifully illustrated, the dinosaurs are well-researched, there is a good deal of realism in little details, and overall it's not nearly as grating as some of the other examples.
    • The attempted TV series pilot: two guys from the modern world are stranded there after a plane crash, and when talking to some sort of council of elders about the outside world, are somehow unable to say a single thing better about the "real" world that one of the council doesn't calmly refute, in mystified tones, with how Dinotopia is about 1000 times better.
    • However, given that the perfect world is shown to be stagnated and stuck in traditions to the point where it's stifling itself and only the newcomer American boys can save the day, the show-Dinotopia applies a bit less than the book-Dinotopia.
    • There's also the point that no one can ever leave, making the island sort of an enforced utopia. The island is completely surrounded by an Eternal Storm, making it impossible to even communicate with the outside world. Fine if you've got nothing left behind. Not so fine if you had any loved ones that were relying on you to support them. Yet no-one ever seems to think of this or mind. Even the one rebellious human, Lee Crabb, just wants out for no reason beyond disliking dinosaurs. Well, that and the enforced vegetarianism since every single living animal on the island is inexplicably sapient.
  • S.M. Stirling's The Draka stories portray The Domination as a Villain Suetopia, where history just seems to repeatedly break in favor of the Draka in defiance of all logic. Post-victory, it defies all logic and sense and the Earth is turned into an ecological paradise with a few million Draka lording over genetically happy and healthy 500 million slaves with perfect living standards for everyone, capable of exploring the galaxy, including invading alternate realities and slaves literally offering their 16-year old children to spend the night with the visiting Draka overlord (who happens to be female and has sex with the daughters of serfs as well).
  • Ernest Callenbach's novel Ecotopia, which features an environmentalist utopia made up of several breakaway U.S. states in the northwestern corner of the country. The villains are the U.S. government (which wants Ecotopia back in the U.S.) and Ecotopian businessmen who want a loosening of government regulations. Ecotopia exists solely as a foil for the author to attack capitalism and promote environmentalism.
  • Roma I, from the Faction Paradox novel Warlords of Utopia. Sure, it's conveniently explained away as it being the statistically inevitably universe where every action went in Rome's favour, but when it gets to the point of successfully counteracting Nazi artillery with catapults and machine guns with shortswords, things have gone just a little bit over the edge.
  • Michael Z. Williamson's Freehold is a libertarian-pagan free market paradise in stark contrast with the UN-dominated politically correct Earth which is portrayed as, well, Hell-on-Earth.
  • The country of the Houyhnhnms in Gulliver's Travels appears on the surface to be a utopia, run by noble intelligent horses who adopt Gulliver as an amusing pet. The only trouble is that the horses can be arrogant tools at times, particularly to Gulliver, and the only human-like creatures on the island are the savage Yahoos. There is some debate over whether Swift actually meant us to side with the Houynhmns in the declaration that Humans Are Bastards, or whether he meant something more cynical yet: Everyone Is A Bastard, Even The Horses. Let's not forget that he was insane. Gulliver has the tendency to interpret every culture with which he is presented as a Utopia, blatantly ignoring its glaring flaws. In-story, however, Gulliver does see the Houyhnhnms as perfect-he goes insane himself, rejecting fellow humans and seeking the company of horses, talking to them in the stables.
  • Charlotte Perkins Gilman's suffragist utopia, Herland (1915) — an all female country where the women reproduced by parthenogenesis. The culture is run by a council of "Over Mothers", and motherhood — the bearing and rearing of strong, intelligent, competent, happy children — is the ultimate aim of every member of society (they're also cheerfully eugenicist). They are not a lesbian culture: in fact, they're completely uninterested in sex. One expresses to a male visitor from "Outside" a vague astonishment that in his (presumably North American) culture, married couples engage in sex even when they're not specifically trying to conceive a child: "Do you mean ... that with you, when people marry, they go right on doing this in season and out of season, with no thought of children at all?" Gilman may have rejected the idea that men were necessary but she wasn't able to see further than other authors of her time, who all assume the same thing — that decent ladies don't care about sex.
  • The Horses Know series has the eponymous species. They are a telepathic, self-actualized Hive Mind who can be as close or as distant as they want from each other. They are not afraid of anything, including death, because they know their souls will be reincarnated into whatever form they choose, and they intuitively understand that death is perfectly natural. They appreciate luxuries but feel no bitterness or impatience when said luxuries are not available. They can see their future if they choose, and all of time non-chronologically. They never hurt any other form of life except by accident, because they don't realize how fragile others are in comparison to them. The only time a horse needs help from a human is if the horse is grievously injured, and of course horses are so badass that they only get injured because they've heroically chosen to protect lesser creatures.
  • The House of Night vampyres are explicitly stated by the narrative to be smarter, stronger, and more creative than humanity. The only good humans in the story all assist vampyres in some way. Any humans who don't like vampyres are invariably hateful, murderous people who are hopelessly envious of the vampyres' perfection and probably serving evil.
  • Gondawa in Rene Barjavel's The Ice People (La Nuit des Temps) is an ancient earth civilization with most necessities controlled by automatic machines and computers run on universal energy. People are free to pursue pleasures and to create scientific and artistic achievements. Work is completely optional. At your coming of age the computer grants unto you a number, a key, and a (usually compatible) opposite-sex spouse. The narrator admits that sometimes the computer fouls up on the compatibility part. The key (worn as a ring) is used as a debit card; at the beginning of the month everyone gets a certain number of points. Work does not earn more points. There's no rollover, you just get the same number of points next month, but it's very hard to exceed your limit. Then you find out what happens to those who do (and that link is putting it mildly). Oh yes, and did we mention the key also functions as a contraceptive? Both partners have to remove their keys in order to have children.
  • Theodore Sturgeon's short story "If All Men Were Brothers, Would You Let One Marry Your Sister?". An interstellar traveler becomes curious about the source of some truly excellent coffee and traces it to an isolated world that's presented as paradisiacal because the inhabitants have eliminated the source of all psychological maladjustment: the incest taboo
  • The Dr. Seuss story I Had Trouble in Getting to Solla Sollew ("... where they never had troubles (or at least very few)") is a subversion, since the Aesop of the book is that you can't ever get to Solla Sellew, and would be better off facing your problems in the real world rather than wasting time trying to escape them.
  • "Inuaki, the reptilian within me" by Aryana Havah has a kid who is the reincarnation of a lizard-like alien explain how on their world agriculture means you put a seed in the ground, fill it with "light and love", pray and get food. No waste problems appear because nobody would ever think about not recycling, everybody is friendly with everybody else and nobody would dream of harming everybody else because that would be very silly of them.
  • Subverted in Michael Moorcock's The Land Leviathan; the Alternate History Earth he depicts seemed to be developing into one of these by the end of the nineteenth century, as a young genius' inventions all but abolished war, famine and want, and ensured that everyone was educated and well-fed. However, human nature wasn't quite so easily solved; whilst the current generation was quite content, the next generation — realizing that all the power was in the hands of an elite, and seeking to become that elite — soon turned to rebellion, resulting in a near-constant global conflagration far worse than what eventually happened in our history.
  • L. Frank Baum envisioned the Land of Oz as a perfect society with no economy under a benevolent dictatorship. Ozma's Magic Picture and Ruby Belt can see anywhere in Oz, do just about anything, and helps her assure the citizens' happiness. Glinda's Book of Records, which records anything that happens in Oz instantly, also works to keep the peace. Everyone in Oz is granted functional Immortality, so aside from the Wicked Witches' deaths no one can die, everyone is happy, and evildoers are punished accordingly. The series' usage of this trope has led to the prevalence of Dystopian Oz, which focuses on the shadier implications of Oz.
  • Edward Bellamy's Looking Backward: 2000-1887 envisions a turn-of-the-millennium America that has become a Christian socialist wonderland. It was hugely popular among late-19th-century socialists.
  • Shangri-La comes from a book written in 1933, Lost Horizon. National Geographic, in an article on the now-real city of Shangri-La, describes the fictional version as a novelist's imagination mixed with Tibetan mythology, the writings of a botanist and explorer, and a whole lot of longing.
  • In Karma Club, the monetary system is run on good deeds, so bad people simply don't exist, and if they do, they're either brainwashed or they're Card Carrying Villains who are sick of goodness and peace. It's not explained why the main characters — or anyone — actually has a job beyond doing "good works". Not to mention "Crime, of course, was completely nonexistent in these parts... Rich people were just too virtuous."
  • In the Book of D'ni, where Terahnee is a similarly utopic world (whose wealth happens to be based on slavery).
  • The Neanderthal world of Robert J. Sawyer's The Neanderthal Parallax trilogy is depicted as such. Everyone wears a wrist computer that records their activities and so crimes are easily solved. Violent crime is largely gone. A lack of religion gives people freedom from such evils as prejudice, stereotypes, and embarrassment. And enforced rhythmic birth control keeps the population low so they don't destroy the planet. However, they get this due to the fact that if anyone commits a serious crime, that person, and anyone who shares half of their DNA or more (parents, kids) is forcibly sterilized (and they also sterilized people with low IQs in the past). Everyone is surveilled, all the time, and the sexes are prohibited from mingling 90% of the time. It's a utopia, but through draconian means.

    There are subversions in the trilogy, in that the Neanderthals themselves readily admit they're not perfect: anger management in particular is an issue for at least one major Neanderthal character, and therapists appear to be just as busy in the Neanderthal world as in the Homo sapiens world. There is also a significant population of Neanderthals who find their society oppressive for whatever reason and choose to go off the grid. The standard judicial punishment for serious crimes also has a very large loophole where domestic violence is concerned, which is explored in detail: a Neanderthal woman whose mate is beating her refuses to report the crime because she doesn't want her children sterilized.
  • Ben Bova's New Earth where all the inhabitants live in harmony with each other and with nature, there is no disease, at least none that aren't easily curable and lifespans are measured in centuries with people being born artificially only when needed to balance the population.
  • The Night Watch (Series) has a hypothetical Mary Suetopia. In Twilight Watch, there's a discussion of how Light Others intended to help the cause of Communism early in the 20th century by putting a spell in the Russian food supply to make people good, loyal communists. Had this been done, Russia would be a powerful and prosperous democratic socialist country and the rest of the world would follow their lead. Technology would also be much more advanced- it's asserted that there would already have been shopping malls on the Moon. The reason it's hypothetical is that the Light Others realized that this utopia would lead to The Masquerade being exposed and muggles would attack them (because Others would be an affront to equality). So, the Light Others let Dark Others sabotage the plan, and so Russian communism instead resulted in the deaths of millions of people.
    • According to the novels, there have been multiple attempts by the Light Others to remake certain cultures into this trope. Unfortunately, they have all be failures, some having been sabotaged by the Dark Others, others failing simply due to human nature. These include The American Revolution, presumably intended to create a nation of perfectly good people unblemished by the Old World's prejudices, only to have the new country follow the same path and do other unsavory things (e.g. slavery, extermination/relocation of the Native Americans). Still, this is nothing compared to the huge failure that was national socialism, or, as it's better known, Nazism.
  • Ursula K. Le Guin's works:
  • Ralph Nader's Only the Super-Rich Can Save Us! shows the construction of a Mary Suetopia by 17 super-rich celebrities.
  • In Pale Fire, the delusional Charles Kinbote recalls his putative homeland of Zembla as a charming, proudly traditionalist (yet intellectually and sexually liberated), paradisiacal Ruritania.
  • P.C. Cast seems fond of this trope. Before she and Kristin wrote the abovementioned House of Night example, her world of Parthelon, as seen in her Divine by series and its related side stories, served as a forerunner. It's a beautiful agricultural world based on an idealized mythological idea of ancient Britain, which seems to always be in summer. It's run by women, has concepts like running water and sanitation, and apparently has the means and resources to make elaborate temples with nearly everything covered in gold. There seem to be no hostilities with neighboring people, all that's required of their High Priestess on a day-to-day basis are some simple rituals and for her to marry the head of a centaur clan (who can shapeshift into a human man at night, so no anatomical worries), and if there is any trouble, the goddess Epona just magically tells the High Priestess what to do. Everyone, from the well-off to the peasants, are friendly, trusting, cheerful, and beautiful. The only conflict comes from a race of beings who seem to do nothing but destroy, kill, and rape.
  • Zenna Henderson's The People stories tend to this kind of thing, both on Home and in the earth colonies. The part about Author Filibuster (she tries to keep it brief) and "the only time you'll actually see anyone in any kind of distress is when they try to break with the society's core ideology" are true of her stories.
  • L. Neil Smith's Probability Broach series, whereby an anarcho-libertarian society is so perfect that not only is it completely at peace with the world, science is so advanced that Alexander Graham Bell is able to make technology to talk to dolphins, chimpanzees and orcas in the mid 1860s! A luxurious airship has marble columns in its lobby, yay! And then Ayn Rand became president and flew to the moon! Seriously! It's worth noting L. Neil Smith won the Prometheus Award for this book. Who created the Prometheus Award? L. Neil Smith.
  • Aira in H. P. Lovecraft's "The Quest of Iranon". Except for the twist: it doesn't exist, except in the mind of the eponymous poet — but it's better to exist there than not at all.
  • Redwall and Salamondastron obviously qualify, but then again so does any society or group made of "goodbeasts," ie mice, otters, hares and so on. Practically all of them are upstanding and responsible members of society and noble and compassionate as individuals. Even though they're pacifists, most Redwallers can easily outwit and outfight hardened killers, and Salamondastron, being an army of badasses, is nigh invulnerable. There is almost no internal strife, poverty, dissatisfaction or vulnerabilities. If more than three members existing at once have real flaws, then it's a bad generation. Meanwhile, the vermin are Always Chaotic Evil, with only a handful of Subversions.
  • The creation of a Mary Suetopia is the main focus of Plato's The Republic, though it is completely hypothetical and part of an elaborate thought experiment. Still, the level of detail to which the "perfectly just society" is described makes it similar to the other fictional utopias listed here, and there are just as many overlooked flaws and just as much Values Dissonance.
  • Raymond E. Feist's The Riftwar Cycle: The eledhel in Elvandar. They are all morally upstanding, all beautiful, all skilled. Their very home is a work of art, the mere sight of it sure to drive the most grizzled veteran to tears. They harbor no resentment for anyone, regardless of reason. Any elves who don't live as they do are considered unfortunate deviations from the ideal (as the term "The Returning" implies), but are generally happy to abandon their whole life's worth of teachings and values (and, in the case of the moredhel, family and friends too) and go live with the eledhel as soon as they realise how awesome they are. The glamredhel literally skip off to Elvandar as soon as they learn it exists. And of course, moredhel can go "good" and become eledhel, but no eledhel ever goes bad. Ever.
  • Malacandra (Mars) in C. S. Lewis's Out of the Silent Planet is "the world that never fell" and remains a perfect, Edenic society. Technically, Malacandra was damaged in the fall, but not in the moral sense. Oyarsa states that everyone used to live on the surface, but Satan damaged the planet, forcing him to dig out canyons for everyone to live in. Morally, however, all of Malacandra's inhabitants are upright. The real Edenic world is Perelandra. The entire plot of the second book revolves around keeping it that way when a demon shows up to ruin everything.
  • There was a whole planet like this in The Stainless Steel Rat Gets Drafted. Supposedly the currency there was directly based on hours worked, and that basic needs can be paid for by about a 6-hour workweek. It's also revealed that the whole society is based on the work an AI has sent to every printer on the planet. When confronted, said AI doesn't much care for the society, thinking they misinterpreted his message but doesn't care enough to tell them. Jim keeps being told how the value of each work-hour is constantly increasing, and everyone is looking forward to the day when a person can work for 15 minutes a week and have everything he or she needs. Needless to say, Jim leaves the planet as soon as he can (what could he possibly steal in this world?).
  • S.L. Viehl's Jorenians verged on this in some of the early Star Doc books.
  • The first (and earliest) society Charles Wallace visits on his trip through time in A Swiftly Tilting Planet is a Magical Native American tribe. Everyone in the tribe has a purpose, and no one ever questions his purpose in life. People rarely argue, and when they do, the Keeper of Harmony resolves the dispute and everyone accepts his judgement without further question. No one is considered better or more important than anyone else. The idea of one human killing another is literally incomprehensible to them. And despite the fact that they appear to have more or less a subsistance economy, the main character has plenty of free time to wander in the woods, swim with his pet dolphin, or go flying on his pet eagle.
  • Harry Harrison falls into this trap in the Stars And Tripes Alternate History trilogy, where a British intervention during the American Civil War results in both sides completely forgetting their differences and uniting in eternal brotherhood against the vile Brits. All racial problems are forgotten, slaves are freed, the South is rapidly industrialized, and it looks like women may even get to vote soon. All this within a few years. This doesn't even take into account the rapid advances in technology the re-unified nation makes (actually, mostly just one guy), including dreadnought-level battleships, rapid-fire personal weapons, and tanks. Meanwhile, the Brits have regressed not only technologically and militarily but also culturally and politically. The Queen's will is absolute, the might of the British Empire (the largest empire in history, mind you) is nothing compared to the can-do attitude of the States. The same attitude appears to be infectious, as the Canadians quickly beg the US to annex them. Mexico follows suit, and both Irelands reconcile within days, forgetting all those pesky differences between Catholics and Protestants. Strangely, the author himself spent lots of time in Britain and didn't appear to have any personal animosity towards the British.
  • Karen Traviss' Mandalorian society could be seen as this trope (it often depends on whether or not you find her criticisms of the Jedi persuasive). Mandalorians have a mandatory draft for all males, who craft their own armor. Females often do likewise and go to war as well. Some of them stay at war, acting as high-paid mercenaries for various individuals and governments, although some take up less warlike professions (apparently the surname "Fett" means "farmer")— all are nonetheless required to have armor and fighting capability. The language has a single gender-neutral pronoun for living things and is quite easy to learn; the society is welcoming to those who can fit into it, all of them love children, marriage and divorce are done with a few phrases in a few minutes. Women bearing sons traditionally wait five years to conceive again, one year if it's a daughter, because daughters don't always want to go to war. While this would be an interesting and valid society, and it's more developed than a lot of the others in Star Wars, Traviss always portrays it as a desirable culture with several of people wanting in and no-one but a few degenerates wanting out, and with most Mandalorians believing themselves superior to all the other societies. Traviss also has a tendency to portray them as superior to the Jedi to the point where a Jedi left the order and became a Mandalorian.
  • Averted in H. G. Wells The Time Machine. The Eloi seem to live in this until the protagonist finds out they're really just cattle for the Morlocks.
  • The eventual perfect world created in The Turner Diaries is definitely this, if only in the mind of its author, William Luther Pierce. The fact that it's created via a nuclear race war that eliminated all non-white people in the world makes it one of the more extreme examples of political shoehorning.
  • Scott Westerfield's Uglies series appears to be one of these at first glance. There is no poverty, no hunger, no crime, and no pollution — all these things have been overcome through technology and are abhorred as products of the ancient "Rusties." In addition, all teenagers are given a complete surgical makeover on their 16th birthday to turn them into supermodels with enlarged eyes, perfectly symmetrical faces, entirely new and flawless skin, an immunity to sickness and even new ceramic teeth. These teenagers are appropriately called "Pretties" and get to do whatever they want and party all day without consequences; they can even continue to get free "surge"— more surgical enhancements, including ridiculous things like tiny gems embedded into the iris to function as a clock, or tattoos that swirl in response to heartbeat. However, as the mechanisms behind the Pretties' world are revealed, the reader quickly realizes that the world is actually a dystopia, particularly when it is revealed that part of the Pretty surgery alters brainwaves to turn all the Pretties into unquestioning bubbleheads.
  • Orson Scott Card's "Unaccompanied Sonata." Basically the utopian government, made up of "Watchers," chooses your occupation. The protagonist starts off as a music virtuoso, isolated from birth from the outside world in order to create unique music. Then someone slips them a recording of Bach and the protagonist gets kicked out of music for no longer being pure. They get placed in other jobs but they still love music so they try to continue in various manners (singing, the piano), with the offending music making body part being destroyed by a watcher each time. However, the protagonist accepts these punishments and becomes a watcher themselves. Card ends the story portraying the protagonist as a benevolent successful watcher who chooses happy occupations for many people. Your mileage may vary on whether you believe the universe is utopian or dystopian.
  • The original Utopia by Thomas More. They had such brilliant ideas as eliminating religious conflict by having everyone worship whatever they wanted so long as they did it exactly the same way at the same time in the same places — and it worked, of course. That said, the book was about how something like this can never happen in real life. 'Utopia' is a pun on both eutopia-"good place", and outopia-"no place". The structure of the book makes it clear that the presentation of Utopia as an ideal society is meant to stimulate discussion; while the primary narrator (a traveler called Raphael Hythloday, whose name works out as something like "peddler of nonsense" in Greek) is very insistent on Utopia's perfection, the narrator of the frame story (a fictionalized version of More himself) is less enthusiastic. At the end of the book the fictional More mentions to the reader that he has some reservations and invites the audience to discuss the topic further — the main point of the work is to contrast the communist, communitarian ways of the Utopians with some of the social problems of early modern Europe, such as greed and intolerance.
  • In The Wheel of Time series by Robert Jordan (and Brandon Sanderson), it is believed that society was like this in the Second Age before the Bore leading to the Dark One's prison was discovered... incorrectly, since the backgrounds of the Forsaken clearly show that there was still plenty of crime (including white-collar crime like insurance scamming), discontent, and war. Though they certainly did have methods of enforcing good behavior with the Binders, or as the current age knows them, the Oath Rods. In the Third Age, the Aiel society and The Two Rivers come close at times. Possibly justified because these are the two societies that have the clearest equitable power breakdown between men and women; a major theme of the series is that gender imbalance in either direction leads to trouble.
  • Quetzalia in James Morrow's Wine of Violence where all violent impulses are literally sucked out of people's heads and thrown into a river of liquid hate. Hope Morrow thought about safeguards for that river. There's easily half a dozen way this could go horribly wrong, from simple overflowing to the hate coalescing into a soul-crushing, insane monstrosity.
  • In Patrick Rothfuss' The Wise Man's Fear, the protagonist spends a few months in Ademre. Ademre is populated by warrior-philosophers that live in an absolute meritocracy, experience no sexism, have complete sexual liberation, are completely free of venereal disease, exercise a perfect mix of wealth and humility, and are unshakingly loyal (all Adem who become mercenaries send at least 80% of the money home, which is doable because Adem mercenaries are such excellent fighters that they command a high salary). They also have no idea that sex and pregnancy are connected, not even having a word for "father" in their native tongue. You know, because everyone is screwing so much that no one could stay celibate long enough to put two and two together.
    • To be fair, that cultural disconnect can actually be found in the Trobiand people (likely due to the contraceptive properties of the yams that serve as their staple crop).
  • One of the societies in Marge Piercy's novel Woman on the Edge of Time, and the one the character most often visits. The main future is a rural utopia in which virtually the entire political and social agenda of the late sixties and early seventies radical movements has been fulfilled: free love, no class or gender distinctions (going so far as to eliminate the he/she distinction in favor of "per"), no consumerism, and ecological sustainability. The only exceptions to this are the death penalty and war, which they still practice, with good reason. The death penalty is a form of a two-strike rule, where the first time someone commits a crime, rather than punishment they have to go through mild repentance (like serving on sea vessels), but the second time (and it seems it doesn't matter too much what the second crime is) they kill the person, because they feel that doing otherwise would destroy the mutual trust everyone feels toward each other, and they can't bear to have prisons anymore. As for the war, they're fighting a war of attrition with an evil technological empire.
  • Robert A. Heinlein:
    • Beyond This Horizon. The world is "perfect", but a few people feel they should be in charge and that society has never given them the credit they deserve. Our hero fights them to preserve the utopia. Interesting, in that this early work of his has the "best" people working, but attaches no stigma to not working and the government gives out money to everyone, so you don't have to work unless you wanted more than the government stipend and/or really wanted to work — the society is a representation of everything that is good about socialism. Contrast this with his later, more "conservative" views that are negative toward "freeloaders", when the society has become a Strawman for Communism/Capitalism — Heinlein had divorced his second wife, who was very liberal, and remarried a woman who had much more conservative views.note 
    • His last/first book For Us, the Living: A Comedy of Customs is essentially a guided tour through a Mary Suetopia. He wasn't able to sell it when he originally wrote it (it was only published after his death), and reading it, one can see why. There is a single sequence where a politician admits that there is still corruption and stupidity, but after a couple of lines of Informed Flaw we're again being indoctrinated on how this society rocks.
    • In Time Enough for Love, he opines that only a libertarian, near-anarchic Frontier society of fully self-sufficient "rugged individualists" can be ideal; anyplace with enough people to "require identification cards" is explicitly considered a Dystopia to be fled from at high speed. Luckily, in that universe All Planets Are Earthlike, so there's an actual frontier to flee to. This is a bit borderline; the character espousing this opinion is a near immortal who isn't too keen on being found out after what happened in the previous book, Methuselah's Children.
    • Stranger in a Strange Land also had a small Mary Suetopia based around Martian philosophy. In the book, having lots of free love and learning the Martian language apparently gives you telekinetic powers and cures all your health problems.
      • The free love is one of the consequences, rather than a cause: the Martian language is based on the True Name of everything, and one cannot name a thing without understanding it ("grokking the fullness" of it). This means that anyone who isn't a complete psychopath cannot gain magical powers without becoming highly empathetic - it is stated that Martian-speakers cannot feel Schadenfreude. This makes a utopia more or less inevitable, over time.
      • All of Heinlein's utopias, and most of the neutral-good places as well, feature free love, with both hebephilia and close-family incest appearing on occasion - his basic rule is that so long as everyone involved wants it, there's no problem. (Perfect contraception and STD protection tends to be assumed.)
    • The short story "Coventry," part of his Future History timeline, takes place in a North America converted into a Libertarian paradise in the wake of a theocratic dictatorship. People are free to do anything they want, as long as their actions don't infringe on other people's freedom. Anyone convicted of a crime has to choose one of two fates. Either they submit to psychological "adjustment" to alter their psyche into one that won't continue in criminal behavior, or become exiled to Coventry. The story follows a man who thinks that the society is "too civilized," and chooses exile over having his brain monkeyed with. Eventually, he learns to appreciate how awesome the society he left is, and is allowed to return.
    • The Moon Is a Harsh Mistress is a borderline example, a population consisting largely of convicts and descendents of convicts somehow turned into one of the politest and most chivalrous societies in human history simply because "stupid" people have a tendency to end up on the wrong side of an airlock without a p-suit and there were extremely few women.
  • Most Soviet speculative fiction was like this.
    • The Communist party had set a timeline for when they expected to achieve certain goals related to the advancement of Communism. All fiction in a futuristic setting was required to adhere to this timeline. This means future Earth was always a Communist paradise.
    • Any aliens more advanced that humanity would also have naturally discovered the superiority of Communism, and would also live in Communist utopias. Writers who disobeyed these rules risked never ever being published. Ivan Yefremov's Andromeda Nebula and The Hour of The Bull are perfect examples. See Noon Universe by the Strugatsky Brothers for notable subversion.
    • Ironically, what the authors thought about Communism, and what authorities did were quite often drastically different things, which has led to extremely funny situations. For example, Efremov, who sincerely believed in humans' goodness and wrote such utopias because he indeed thought them to be the only way, still caught a lot of flak for criticizing the sides of the Soviet society even the official opinion believed reprehensible, only because he didn't toe the party line perfectly. Strugatsky brothers were even better illustration, because their view on the perfect society differed from the party line pretty heavily.
  • Philip K. Dick's Eye in the Sky has the protagonists, via a particle accelerator accident, transported into false realities that were manifestations of each of their subjective worldviews. As such, two of them were Mary Suetopias to their respective believers:
    • The technologically-ignorant religious fundamentalist's worldview has plagues of locusts descend on people who blaspheme, and in the glove compartment of every car there's a prayer book for when it breaks down, allowing the driver to "pray" his car back into operation until it can reach the nearest auto faith healer.
    • A middle-aged prude eliminated nuclear war and racism and sexuality and all those other 'nasty' things, simply by wishing them into nonexistence or otherwise altering them to fit her tastes. Like putting trousers on field horses.
  • The Lyremouth Chronicles by Jane Fletcher have a fairly straightforward example; those who live outside the Protectorate are either unsavory criminals, pseudo-religious con-men, just bad at their jobs, or actively wish they could live inside the Protectorate - but know they're not good enough to do so. Citizens of the Protectorate, on the other hand, are wealthy, successful, intelligent - and eschew 'primitive religions', anything hereditary, and are almost all bisexual.
  • Victoria is presented this way with a huge dose of Values Dissonance, as a return to and refinement of traditional American life. Technology after the 1930s is informally, but powerfully banned, yet it is a leader in cold fusion and Tesla tech, with technology that can disable explosives and firearms at a distance. In particular, computers, television, and cars that can drive more than thirty miles. Black people are banned from raising families in cities, and can be hung for any violent or drug-related crime, and yet races apparently get along perfectly fine. Non-Christians are banished, liberal college professors are no more, turn back the clocks on feminism and LGBT-issues and truly remove the federal government. All of these are portrayed as unambiguously good things.
  • Cooking With Wild Game is a weird subversion. Everyone in the village is painfully honorable (except one particular clan who are under the thumb of an abuser) to degrees that awe The Watson, but this is despite their type of society, not because of it. Problems like poverty, lack of education, outdated laws filled with loopholes, and xenophobia are still rampant, even though all the victims are good people who try their best to help each other. It comes less like "this is a utopia" than "this specific peoples' hat is Incorruptible Pure Pureness".
  • Averted in Shannon Messenger's Keeper of the Lost Cities. At first glance, Elvin society is this: poverty, sexism and racism are inexistent - though this last part leans dangerously toward the realm of Informed Attribute, they are pacifists who are eternally young and beautiful, possess technology that is much more advanced that humans'. They pity and often mock humans who are less beautiful, keep fighting amongst themselves, causing destruction, and are unable of creativity: it is heavily implied that all good cultural and technological breakthrough were gifted to humans by the ever benevolent elves and that the bad products of advancement, such as nuclear bombs, are the product of humans corrupting the knowledge given to them by elves. And every human that encounter them is bedazzled by their perfection. It is quickly shown however that Elvin society is in fact far from perfect, as elves practice a form of institutionalized eugenism and shun anyone that doesn't correspond to their ideals. Still, their society retain an undeniable superiority over humans' and they never miss an occasion of reminding the readers of that fact.

    Live Action TV 
  • Star Trek: The Federation was conceived as an aspirational utopia, an advanced society that represents humanity's best potential as an enlightened society in the stars. It is post-scarcity meritocracy, with individuals working to better themselves rather than acquire wealth or power. The Federation behaves according to high principles of anti-imperialism and non-interference. Rather than conquering other nations, it requires civilizations to apply and prove their worthiness to to join. While individuals often fail to meet the Federation's high moral standards, the institution itself is virtually flawless, and when flaws are pointed out, the institution takes steps to correct them. At least, that's true in early incarnations. The further the franchise gets from Star Trek: The Next Generation and Gene Roddenberry's original vision, the more flaws start cropping up in the Federation's characterization and the less of an example of the trope it becomes.
  • This plot was used in The Twilight Zone (1959) episode, "Number 12 Looks Just Like You". In addition to making one beautiful and compliant, the surgical transformation also granted extended life. Although the rules of society state that a person could refuse the surgery if they wanted to, in practice, they really couldn't.

  • Atlantis by Donovan starts with a narration describing how perfect Atlantis used to be.
  • Neil Young's song "Cortez the Killer" depicts the Aztecs, of all people, in this fashion:
    "And the women all were beautiful
    And the men stood straight and strong
    They offered life in sacrifice/So that others could go on.
    Hate was just a legend
    And war was never known
    The people worked together
    and they lifted many stones...."
    • Admittedly, he was sixteen when he wrote this, up all night with a stomach ache after six hamburgers, and they were studying the Aztecs in history class.

    Tabletop Games 
  • Cyberpunk 2020 presents New Zealand in a rather similar view to Shadowrun below, with among other things guns and MegaCorps under control, environment being respected, and a welfare system in place even if not is all sunshine and rainbows there.
  • One of the complaints about the Lorwyn set in Magic: The Gathering. It's a rather idyllic, peaceful place literally under constant sunshine, where most races with one exception are bordering on Always Lawful Good... and because of that, nothing really happens in its storyline.
  • Anarchist habitats in Eclipse Phase are apparently flawless societies where robots and nanofabricators provide for everyone, crime is virtually non-existent due to sourveillance sensors everywhere and well-armed populaces, and there's no shortage of spare bodies like there is in the Transitional Economies. However, in Rimward, this gets examined a little, and it's made clear that anarchy isn't for everyone; personal property effectively doesn't exist, including your own body, and people who don't socialize well with others can be effectively incarcerated indefinitely for failing to fit in. Despite this, anarchism is still presented more positively than any other ideology.
  • The Dalelands come across this way in the Forgotten Realms, particularly Shadowdale.
  • In Mystara, the Hidden Elf Village of the Karimari, a pygmy-like human culture is this trope in spades. Apparently, thousands of happy hunter-gatherers who all opt to settle down in one place, without otherwise changing their way of life, wind up surrounded by pleasant gardens, group singalongs, and dinosaur polo matches, not hunger, poverty or open sewers.
  • Mordent, a quietly-rustic domain of Ravenloft whose darklord never seems to leave his house, and in which the Land of Mists' greatest monster-hunters were headquartered, can seem like a Mary Suetopia when compared to the misery and dread of the rest of the game-setting. The 3E Arthaus products opted to subvert this: Mordent's nastiness is there, it just waits to happen to people until after they've died and their spirits are vulnerable. And Godefroy does have free run of the place, so he can ensure this happens as soon as he's in the mood to torture somebody's ghost.
  • Despite being in the horrible world of Shadowrun, Sweden and New Zealand have both somehow become a paradise, where the Megacorps are at bay, everyone is rich, technology is years ahead of the rest of the world, the environment is pristine, nothing bad ever happens, and candy drops from the sky. Maybe the author thought he was writing for another universe. A lot of the fluff for Shadowrun is basically "Socialism good, capitalism BAD!!" Which is odd considering that the heroes you're playing are essentially anarchists-for-hire. This is to provide a balance in a Crapsack World. There needs to be a place where life doesn't suck.
    • 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 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. The reason for this is because non-elves have little to no rights and are basically treated as slaves and they have the habit of dumping their political malcontents onto neighboring countries since those people still tend to have raging Can't Argue with Elves attitudes and will cause plenty of trouble.
  • Warhammer 40,000 had a bit of fun with this one.
    • The late third edition introduced the Tau Empire, which (despite its name) is The Federation consisting of the Tau and a number of allied races. The Tau, unlike all the other species, have no species infighting and a society that is basically Communism that works (and In Space), are willing to use diplomacy as a first resort, and were presented as having assimilated several nearby human colonies into the fold of the "Greater Good". For a universe as badly off as Warhammer 40,000, the Tau Empire were quickly singled out as a Mary Suetopia for it. Then came the fourth edition rulebook for the faction where it was hinted that the Empire is kept in control due to Mind Control by its ruling class, Dawn of War's second expansion had the Narrator (an imperial scholar) implying that the Tau used forced sterilization on the population of Kronus in the Tau ending, and finally, just to hammer the point home, Games Workshop sicced a large splinter of Hive Fleet Kraken at them.
    • Also, Ultramar is a mini-empire of prosperity and happiness in a decaying dystopian dictatorship. It's suggested that most of this is due to extensive rebuilding by the Ultramarines chapter, and the fact that the eight worlds in Ultramar don't have to pay the hefty Imperial tithes, instead working to support the Ultramarines chapter. Ultramar is one of the few democratic places in the galaxy, and the worlds tend to look more like Real Life Earth, rather than the hopeless, overpopulated and polluted hive and forge worlds of the rest of the Imperium. Unlike the Tau Empire, however, this is a Mary Suetopia played straight: the Ultramarines are notorious for getting HUGE Creator's Pet treatment in the fluff, especially if the person writing for them is Matt Ward.
  • This is one of the most common complaints leveled against Blue Rose — Aldis, the main setting, is specifically designed to strike players with modern liberal sensibilities as a fundamentally good place worth defending. This complaint is arguably based more on the tone of the book than the strict content, though - a careful reading shows that Aldis does have corruption, greed, crime, ethnic strife and similar ills, it's just that the parts of the text detailing them can be easy to miss in between the pages upon pages of gushing about how wonderful Aldis mostly is.
  • Fates Worse Than Death is an alternative cyberpunk game taking place in a setting in which humanity has (with very limited success) largely moved into these. With the invention of advanced brainscanning technology, it became possible to scientifically evaluate not just a person's real intelligent and talent, but also such qualities as their loyalty, morality, emotional stability and generosity. Following a series of world wars and economic crises which eroded humanity's faith in the older systems of government, this led to the creation of a world based around private communities. By using brainscanning technology, the rulers of each such community can guarantee that only people possessing the skills and personality traits they desire will be able to enter. In theory, this would create a global utopia: what could possibly go wrong in a community inhabited entirely by intelligent, altruistic, friendly people? The game goes to great lengths to show why this is wrong. For once, different people have different ideas of what a perfect personality is, and not all personality profiles are ideal for the maintenance of a community. Many "utopianist" communes are, in fact, dirt poor and in poor repair as people were selected to live in them based on such traits as their adherence to monogamy or ability to suppress emotions. Many are effectively cults, all are incredibly authoritarian (with regular brainscans to make sure people haven't "strayed from the path", and the threat of being kicked out in that case), most demand absolute conformity and a significant minority actively despise all other societies. Moreover, since many such communities emphasize independence, epitomized in the community's ability to become self-sufficient, many quickly regress into a barely industrial level of civilization as the tiny, "perfect" societies prove incapable of maintaining crucial, modern industries. Most importantly, the state of the world means that at any time, there's a large surplus of people who have not been found fitting for any nearby community: they are the mentally unstable, the inclined to violence, the drug addicted, the revolutionaries and individualists... and in this world, they are all packed into ghettos so as to not disturb the communities nearby. The game's default setting of Manhattan is one such ghetto, and it is repeatedly shown that for all of its grit and grime, the people there are generally both happier and more enlightened than the clean, smiling representatives of the nearby "utopias".
  • Princess: The Hopeful has five different and mutually exclusive utopias as the home realms of the five Courts in the Dreamlands. Each is the perfect examplar of that Court's philosphy of life: One is a forested realm where people live In Harmony with Nature, another is The Good Kingdom where the hereditary nobility is truly noble of character, a third is a technically advanced realm of Crystal Spires and Togas, and so on.
    • Deconstructed in the setting's backstory: As noted above, each Court's utopia is completely different, and in the distant past the different Courts began to squabble over whose utopia was most utopian, forgetting that each was an equally valid interpretation of the Light. It was that pride and strife that let the Darkness cast them down, driving them from the real world and imprisoning them in the Dreamlands.


    Video Games 
  • Deconstructed by the BioShock series; the societies you find yourself wandering through were founded upon a single core philosophy (objectivism in BioShock, an anti-objectivist credo of absolute altruism in BioShock 2, and American exceptionalism in BioShock Infinite) and did indeed start off as Mary Suetopias. By the time YOU show up, though, the religious adherence of their citizens to these philosophies have brought to light a few minor flaws therein; flaws which have forced the cities' founders to become the monsters they fought (a cruel irony they're all too aware of), and have caused society to crumble into a state of violent anarchy. The exception to this is Infinite, where it's pretty clear the founders started as monsters.
  • In Dragon Age, the writers describe Qunari society as a "negative utopia." Yes, it is genuinely the most advanced nation on the face of the planet, making great leaps and strides in technology and science, with enough food, shelter, and other necessities for all citizens. This is not an Empire with a Dark Secret; there are no blood rites going on in the background, no pacts with demons to keep the whole thing going. The only problem is that it is a staggeringly totalitarian society that uses every single individual as nothing but a cog in the machine that is the nation. You are born never knowing your biological family, assigned a job at twelve, and must spend your entire life playing your role or you will be re-educated—and if re-education fails, you'll be turned into a living zombie and sent to perform menial labor (the Qunari waste nothing). And Maker forbid you're born a mage (which they probably bred you for, specifically). Oh, and they don't have cookies. See, cultures invent cookies and cakes in order to do something with the leftover batter from other projects. The Qunari plan ahead too well to have any leftover batter, so no cookies. While that sounds a bit silly, it's actually a microcosm of their society as a whole. They also reject the notion that one race is inherently superior than any other. Anyone is free to willingly follow the way of the Qun. A human, and elf, or a dwarf is treated no differently than a kossith (the original Qunari race). The reason why most of the Qunari encountered in the games are of the kossith is because they're bigger, stronger, and tougher, making them better for their societal role as soldiers.
  • The Polaris civilization from the computer game Escape Velocity Nova, which features a perfectly organized enlightened society, the complete absence of piracy (or any sort of conflict) within its borders, and dramatically overpowered technology far in advance of its rivals. They did have to go through a civil war thanks to an issue with their system, and there are two implied reasons why their technology is far in advance of their rivals that have nothing to do with the Polaris having a superior societynote , but...
  • Ylisse is a deconstruction of this in Fire Emblem Awakening. It's a peaceful and pious nation, ruled by a kindhearted and wise young woman... but it only got there after the previous ruler basically ran the country into the ground through an endless war with the Grimleal in Plegia note  (and it took Emmeryn YEARS to get things in order... and we're talking about a woman who became queen at age NINE), and the "peaceful" part comes to bite them in the ass early on, when Ylisse finds itself completely unable to resist a Plegian invasion without help from their battle-loving northern neighbors.
  • Played straight for the most part in Fire Emblem Fates with the Kingdom of Hoshido, a land so bountiful and filled with light that its neighbor, Nohr, repeatedly attacks in naked aggression without even bothering to ask for aid or alliance. The land is covered in a barrier that makes invaders lose all warmongering impulses. The former king and current queen are paragons of virtue, and the kingdom itself is always presented as being on the morally higher ground compared to Nohr, and this even carries over if you pick the Invisible Kingdom route in which you pick neither side. Whatever grayer spots of Hoshido are mentioned are either mentioned in passing (Azura's kidnapping by Hoshidan shinobi and experiencing severe racism while growing up there; despite this, even she tries to initially convince the Avatar to side with Hoshido) or handwaved entirely (Takumi shooting Elise with an arrow on the Nohr route and Ryoma threatening to let her die if the Avatar doesn't return; the Avatar completely lets it slide). The biggest flaw that Hoshido has is the prejudice that many citizens feel against Nohrians, but as this hatred derives entirely from Nohr's unprovoked evil actions many players feel that this attempt at moral balancing falls flat. In fact, there's not a single named Hoshidan character that the game presents as a bad person, even when you're fighting against Hoshido!
  • Parodied in the Team Fortress 2 Engineer update comic, where it's revealed that Australia became a hyper-masculine Gary Stu-topia at the pinnacle of technological progress thanks to the discovery of Testosterone Poisoning-inducing Australium. Even though the Australians were originally dumb, the Australium made them super-geniuses and allowed them to grow marvelous handlebar mustaches, even on women.
  • Gallia of Valkyria Chronicles, where everything is wonderful because they're sitting on the world's largest deposits of 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 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 error of their ways or have their personalities corrected. The game does an excellent job of making the player 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 Valkyria Chronicles II 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 learn to get over it all save for the Imperial foreign exchange student.
    • Valkyria Chronicles 4 does a number on Gallia's reputation through a healthy dose of Surprisingly Realistic Outcome. The Empire had attacked and burned a border town in the backstory, and when Gallia refused to break its "armed neutrality" stance, large swaths of the population were outraged and promptly emigrated to Edinburgh to fight for the federation anyway. (This is why Gallia's regular army is so easy to demonize - every able-bodied soldier with a moral compass was long gone and fighting on the main front.) Gallia were only able to win the war because Federation Ranger squads (who are Gallian volunteer unit, to boot) were passing through the area and screwed up the Imperial supply lines. Finally, it's heavily implied that Darcsen discrimination in the armed forces is a largely Gallian problem that gives them more in common with the Empire culturally than they'd like to admit.

  • In City of Reality
    • The city is intended as a deconstruction of the typical version of this trope. It's really, genuinely true that the government is nonexistent, crime is unheard of, and people just want to get along. It's also true that there are a lot of worlds that are not Reality that quite frankly suck, and Reality doesn't get along with them very well. People being born in such a 'perfect' world as Reality being ill-prepared for a world significantly darker than theirs, which is both played straight and subverted on several occasions, even leading to the creation of some well intentioned extremists among Realists who deal with other worlds. It also shows that they've created and maintained this world by a stringent set of rules for immigrants... you have to be a genuinely good person as checked by tests and empaths to move to Reality to begin with (which makes you wonder how Hawk got in), and immigration is small enough that it's hard not to get assimilated to the Realist way of thinking. Naturally people born there would be raised by example.
    • There is an implication that Reality used to not be nearly so nice, as demonstrated for the SUEPR (troubleshooter/superhero) centers being many many times the size they need to be, and only gradually made their way to their current state the hard way, by working for it.
    • The storyline at the end of the first 'season' has the government of Reality itself come to question its isolation leading to an event that was utterly disastrous. City of Reality isn't one to let potential holes in it's utopia remain unpoked, half the comic seems to exist to test the limits of it's utopia and the other half to revel in it.
  • In Escape from Terra, the Asteroid belt is an anarcho-capitalist paradise, bit similar to The Moon Is a Harsh Mistress minus the convicts. Earth meanwhile is a bureaucrat-ridden socialist-fascist society of drones.
  • An Alternate Universe in Sluggy Freelance. When Torg first visits the dimension early on, all the characters except Kiki are surprisingly polite, and every day is nearly perfect. He is horrified to discover, though, that the dimension contains no alcohol, leading everyone to call it the Dimension of Lame. The dimension contains no violence at all. Torg later revisits it during the "That Which Redeems" storyline, only to find that the dimension has been invaded by demons from the Dimension of Pain. No-one can even imagine defending themselves. When the world governments drop a Nuke, it turns out to be a Notification of Unified Kindness Envelopes, basically a lot of scraps of paper. Torg also finds out that "nice" and "pacifist" isn't the same thing as "perfect", or even "good".
  • Sonichu has CWCville, where all benefit from the wise and magnanimous rule of Christian Weston Chandler. "Tobacky" and alcohol are banned, though the mayor has eventually abandoned his principles and gotten on the booze. The town has several taxpayer funded soup kitchens hotels with cable television and internet in every room. Each person gets their own room and each hotel is at least five stories tall. Also, some of the "heroes" of the comic have mobiles with unlimited free minutes and cards that allow them to eat anywhere for free. With very little effort, the trolls make fan fiction depicting CWCVille as a hellhole headed up by an insane, tyrannical manchild.
    • It certainly doesn't help that their response to a terrorist bombing (perpetrated by one of Chandler's many Strawmen based on real life people) is to have the daughter of one of the victims butcher the terrorists with a drill.

    Web Original 
  • The Elven Kingdom in Elfslayer Chronicles is peaceful, has very little crime (they don't even have holding cells), is egalitarian enough to let their princess play with peasant children, is non-materialistic, accepting of homosexuality, and its people are great artisans.
  • As revealed so far, the Union of American Socialist Republics in the alternate history series Reds! is a deconstruction of much of the tropes of utopia. Is life in the UASR better? Perhaps. Is it very different? Absolutely. The cultural and social values that developed over a century of tremendous divergence, revolution and the like are very much alien.
  • The Equestrian Empire in Void of the Stars. There is no crime, no poverty, and the explanation is literally magic.

    Western Animation 
  • Family Guy:
    • An episode has Peter go back in time to sow his wild oats, meaning he and Lois never married. For some reason, this also puts the US government firmly in the hands of Democrats (Al Gore was elected President in 2000 and all the Supreme Court justices are liberal). The alternate present is depicted as a dream world where crime and pollution are nonexistent, Gore hunted down and killed Osama bin Laden with his own bare hands, and several prominent Republicans like Dick Cheney were killed in a hunting accident. Brian tries to convince Peter to give up on Lois and stay in this reality. Of course, the same episode also shows that not all is well in this reality. George Jetson kills Jane, his wife, for taking all his money instead of a few bills for shopping.
    • Another episode did much the same thing, this time with Brian and Stewie using a device to travel to different realities. The first reality they visit is one in which Christianity never existed, and, as such, the Dark Ages never happened and society is now a utopia where technology has made huge advances (everything, even pooping, is done "digitally") and absolutely everyone (even Meg) is gorgeous and travel across the Atlantic takes seconds. The only downside presented is that the artwork from the Renaissance-era does not exist.
    • An early episode depicts ancient Ireland as a highly-advanced technological society about to Ascend to a Higher Plane of Existence. Then someone invents whiskey.
  • Towards the end of the South Park episode "Goobacks," everyone decides to act responsibly to make the future a better place so that people don't have to timegrate back to their time and take their jobs anymore. It works, just like that, and the town is shown becoming a Mary-Suetopia... until the characters realise that "this is really gay" and go back to their previous plan where all the men have gay sex in a big pile (because even that is still less gay than what they were currently doing).
  • 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 The Smurfs or Care Bears. This allows for very easy plot construction where a Big Bad is always trying to befoul the Suetopia in some way. Shows from The Dark Age of Animation (such as The Get Along Gang or Richard Scarry’s Busytown) frequently go even further than that, and have No Antagonist at all.
    • Many of them are more properly a Crapsaccharine World, which 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 Like Reality, Unless Noted, with no reason for really nasty things to happen because children don’t really experience them.

Examples of Straw Dystopias


    Films — Live Action 
  • The Norsefire Britain of the V for Vendetta film.
    • It's Thatcherism straw-manned into Fascism — and no-one is happy unless they join V and rebel against the government. The graphic novel is more subtle and ambiguous about this; while the Norsefire Coalition are obviously totalitarian monsters, they're also the only thing holding Britain together after a nuclear holocaust, and V himself is more a sociopathic anarchist than a heroic freedom fighter.
    • Which is puzzling, as the Britain in the film, although a ruthless dictatorship that suppresses civil liberties, still looks prosperous, at least for the residents who aren't gay or Muslim. Just about every citizen we see is living a comfortable middle-class existence with pubs and late night talk shows. How likely are they to rise up? At least the residents of the hell-hole Britain of the comics are desperate enough to clutch at any straw.
    • In the comics, Norsefire were very clearly based on far-right English racist organisations like the National Front. In the film, Norsefire just becomes the English Nazi Party, complete with its leader having his last name changed from "Susan" to "Sutler" and trading his NF-esque blue suit and clean-shaven look for a Hitler-esque black suit and moustache appearance.
  • Starship Troopers is a Spiritual Antithesis to its own source novel. Whereas Heinlein attempted to depict a liberal utopia with a strong military, Verhoeven set out to present the Federation as a warmongering fascist state. However, beyond Putting on the Reich, the Federation conspicuously lacks much of the endemic corruption found in Real Life fascist regimes. While the society is shown to be very jingoistic and subject to a lot of propaganda, the civilians are otherwise shown living comfortable middle class lives beyond not being able to vote (in the film's universe, voting is a right one earns through military service; fascism rejects all forms of democracy on principle), and there is no discrimination based on race or sex, with integrated units. There's Fantastic Racism against the Arachnids, but they're never depicted as anything other than a genocidal Horde of Alien Locusts that eat brains. There is no almighty Fascist dictator whose rule cannot be questioned—the Sky Marshall immediately resigns when he's held responsible for a major military defeat (did Hitler resign after losing the Battle of Stalingrad?). The Federation's motto, "Service guarantees citizenship", is basically the opposite of what a fascist would say, i.e. "Citizenship guarantees service".

  • The Strawman Communist dystopias of Ayn Rand's Anthem.
  • The futuristic, hedonistic Britain of Brave New World, which is utterly perfect in some ways (amazing medical advances mean no-one ages, travel 'round the world takes minutes). Yet, at the same time, their society depends on thinly-veiled eugenically-altered slave labor, families are unknown, and all classes of society are conditioned (often through pain) to perform their roles. Furthermore, it's pretty clearly established that all that super-fun hedonism has resulted in a world where life is almost completely pointless.
  • In the CoDominium series by Jerry Pournelle, Earth under the control of the CoDominium - an alliance between the Western and Eastern blocs - has become an extreme exaggeration of a Welfare State where the privileged Taxpayer class support massive "Welfare Islands" where uneducated citizens receive an endless supply of free food and drugs. Later averted as the CoDom was on the way out and everyone knew it, resulting in them shipping as many people offworld as possible whether they liked it or not in order to save humanity.
  • The Domination of Draka is an odd case, best described as a Villain Sue-topia. Supposedly a study in the nature of evil on a metatextual level and possessed of a social structure resembling a pre-emancipation Caribbean "sugar island" (small citizenry ruling over several times their number of slaves) massively scaled up. The question is how the Draka manage to constantly display every martial virtue in the book for generations, become a beacon of gender equality, and retain an advantage in technological innovation that does not begin to narrow until the late 20th century (the notational POD is in the late 1700s). Furthermore, as this and this article notes, a large part of their success comes from a mixture of Author Favoritism and the fact that every other nation is handed the Idiot Ball regarding them until it's much too late.
  • The future UN from Michael Z Williamson's Libertarian tract Freehold novels (Freehold and The Weapon).
    • While run as a repressive surveillance state, to the point that everyone has an implanted radio transmitter monitoring their every move, Earth's cities are a Clockwork Orange nightmare ruled by brutal street gangs — an apparent contradiction, but thematically resolved through bureaucratic inefficiency and dysfunctional incentives. Meanwhile, the UN's military is an utter joke, populated by time-servers and serial rapists, crippled by its own sensitivities, and seemingly incapable of successfully oppressing anything more fearsome than an orphanage. There are some mitigating circumstances and real-life precedents for most of the above, but it still comes off as rather unbelievable.
    • The Freehold of Grainne, in the first book, is somewhat of an example of a Straw Utopia too, with free sex mostly without consequence due to 100% failsafe contraceptives, freely available drugs for recreational use, no traffic laws, and no overtly evident crime. Things became a little less rosy with companion piece The Weapon, where the Freehold underground is pointed out better — and it's said in no uncertain terms that little girls running around unarmed are at serious risk.
  • Terry Goodkind's Faith of the Fallen, where Richard is basically kidnapped by the dark sister Nicci, who delivers speech after speech about the "enlightened" administration of the Imperial Order, all of which are caricatures of Communist and/or Socialist practices. When we see it, it's of course a crumbling basket case, with everyone having to gain approval by various committees before doing the smallest thing in the economy. In no way does the book explain how such a system can work for even one city, let alone an entire massive empire. The economy is not even centrally run-that would at least make it slightly better. Rather, this is borrowed wholesale from Atlas Shrugged, but there it falling apart is the point. In the books though, the Imperial Order was supposed to be waging wars at the same time. How they manage this is a mystery.
  • The first Wind on Fire book contains this and Straw Utopias. People in the dystopia take tests constantly to determine their aptitudes. Children — even those only about a year old — who misbehave in public are given demerits, which affect their entire families' social status. The child who happens to live with an aunt rather than his parents is grubby and socially backward because "he has no one to tell him to wash". Repeat child offenders get sent to live with the "Old Children", even though being touched by one turns you into one of them and this is universally understood to be Not A Good Thing. The government officials basically state that they want to make life hard for the main characters, because obviously the readers couldn't accept Well-Intentioned Extremists. And yet... you have the chance to improve your status based on your own merits, and if you keep your head down and are good at memorizing the information on the standardized tests, you're pretty much left alone. The biggest problem with this government seems to be that it never considered that different people are competent in different areas. Oh, yeah, and that it doesn't accept that "We're only this way because the magic left! When these seven-year-olds bring it back, it will make everything all better. Somehow."
  • Marge Piercy's novel Woman on the Edge of Time again. The main character visits a craphole future very briefly. It's more technological, but everything else is terrible. No one on Earth can see more than about 20 feet due to pollution, most people don't live past 40, a lot of technology's broken, and the only people that have it good are a few ruling elite who live past 150 in orbiting space stations and buy fresh organs from the lower class. Piercy obviously included this chapter just as a foil to the Utopia of the rest of the book, and the main character, fearing this future, never goes back.
  • 1984, where one of the members of State Sec even thinks that The Party will last forever, despite that in reality, there obviously would be corruption, revolts,note  sabotage and failures in surveillance system, inefficiency and crises of economics, lack of professionals and social lifts which will lead to failures in the work of state... the list can go on.
  • Jack Chalker described himself as a 'militant centrist', and claimed that all or most of his dystopic societies he got by taking an outlook or group's proposed theories and taking them to their logical conclusion assuming no competition or dissention from other outlooks.
  • The Theocracy of Abul Sabah in the Never Again series is basically able to take over the world by having every other country act towards them in the same way that the Alliance for Democracy acts towards the previously mentioned Draka—even after they use military force to conquer China, no one does anything to stop them, and that doesn't even get into the fact that before said conquest, the theocracy only ruled a small, resource-poor and poverty-stricken area of Central Asia, which would realistically have been dwarfed by its opponent, especially since China has many powerful allies in this Alternate History. Not only that, but the theocracy only exists in the first place because Belief Makes You Stupid is played depressingly straight. If even one person other than the Big Bad and The Dragon acted rationally, their movement would have come falling down like a house of cards.
  • One common interpretation of "Harrison Bergeron" by Kurt Vonnegut is that it's a deliberate example of one of these, as a Stealth Parody of similar works by Ayn Rand and others.
  • The Handmaid's Tale has The "Republic" of Gilead, which the author admitted was effectively her conception of the worst society possible for women. In the panic following a global infertility epidemic, the US government is overthrown by an organization of religious terrorists who somehow manage to assassinate the President and every member of Congress in a single day; they subsequently throw out the Constitution and impose Old Testament Law in its place. The few remaining fertile women are rounded up to be used as breeding slaves by wealthy men, and the penalty for a woman disobeying a man becomes death. It's also implied rather strongly that Gilead has undertaken a mass murder of both African- and Jewish-Americans. However, it turns out Dystopia Is Hard, as the book's epilogue insinuates that Gilead's repressive policies led to a quick revolution, with future Americans remembering it as essentially the historical equivalent of a Big-Lipped Alligator Moment.

    Live Action TV 
  • Done in "Quarantine," of The Twilight Zone (1985). A space-weapons expert is brought out of cold sleep to destroy a meteor that's about to fall on Earth. In this future, everyone has psychic powers and live in a wholly agrarian society that hippies can only dream of; even the biocomputer chimpanzees are equals. Every tiff the guy has with the future society is brushed aside with some half-baked response to the effect of, "Ha, we're just that damn awesome." However, it's revealed that they didn't bring him out of cold sleep to destroy a meteor, but to destroy a ship of survivors from the nuclear holocaust. Because we can't let those damn dirty military people land and ruin our perfect planet, especially since they're American damn dirty military people. In the shot of the ship being destroyed, the "United States of America" label on the side of the ship was extremely large. The writer sure wanted to let you know who the "bad guy" was in the nuclear war.

    Tabletop Games 
  • Eclipse Phase has a counterpoint to the utopian anarchists mentioned above in the form of the Jovians, and more generally the bioconservative movement. While a society that's inherently suspicious of transhumanism and bio-augmentation is legitimately the natural antagonist in a setting that's entirely about "Transhumanity", it gets taken a bit further than it really needed to go.
    • Especially since Jove's basic argument was that artificial intelligence and 'self-enhancement' is what got humanity in trouble in the first place, and that's pretty much correct whether you're a space Nazi oppressing all the poor special people with your hatred or not.
    • The Hypercorps also basically fall into this trope. Ostensibly they should be as much a post-scarcity society as the anarchists, with availability just limited by credits instead of time investment, but somehow it never works out that way and everyone is miserable all the time. No capitalist is allowed to so much as wait tables fora salary without some nefarious corporate plot (usually involving murdering or torturing uplifts/AG Is) going on for some reason.

    Video Games 
  • Dungeon Keeper subverts this. At the beginning of the game you look out across a blissful land ruled by good and just rulers, with no trials or tribulations, bar a few aching facial muscles from smiling too much. It's your goal to turn these joyous lands into terrible lands ruled by fear and anthrax.
  • In Sharin no Kuni, considering the effort made to point out that Houzuki is badly abusing the system, showing what it could be made to do and what a bizarre case the town is in terms of their obligations, it's difficult to entirely believe the assertion that it's such a terrible system. Or worse than the normal justice systems that it is compared to. Arguably, Sharin no Kuni subverts both the Utopia trope, and the Dystopia trope. The Country of the Wheel is neither perfect, nor hellish, in the end. There are ways in which it is worse (the Involvement clause, the treatment of the foreigners), and there's ways in which it is better. There's good people, and bad people in it, and the rules themselves are frequently bent or corrupted for good as well as for ill. The final plot of the antagonist is his attempt to undermine the system, so as to implement *our* justice system, albeit his version of it. In many of the endings, the protagonist can choose to not follow in his father's footsteps and instead finally make peace with the system, and in most of the routes, the obligation system is the least of the problems the protagonist faces.
  • Fire Emblem Echoes: Shadows of Valentia uses a pair of straw dystopias to deconstruct each other:
    • Zofia initially appears to be a land of peace and plenty, with just the introduction's mention of the royal court being overly decadent. But this first impression comes from the characters living in a tiny village nobody really cares about; Zofia as a whole is ruled in a strict feudal system, where power come from birthright and the nobility barely consider the peasantry to be actual people. Social mobility is nonexistent and a commoner being given junior field command of the resistance forces causes a significant schism.
    • Rigel is presented at the warmongering country with a violent culture backing it and a conquest-hungry army and a power structure riddled with Might Makes Right and Chronic Backstabbing Disorder. However it's also a meritocracy where anyone has a chance to rise through the ranks, and while they did attack Zofia the second they could, that's driven by a serious resource crisis - amoung other things, the country has precious little arable land.
    • They key point is that both of these extremes are presented as stifling their own prosperity and equally unpleasant for all but those benefiting from the corruption, and both have to benefit from the barriers falling after the war to learn from each other and improve.

Alternative Title(s): Suetopia, Straw Dystopia, Straw Utopia