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"Captain Marvel was the first superhero comic to just throw out the notion of realism. Captain Marvel can fight dragons and meet women from the moon. Anything you can think of, this guy can do, so of course that was an immense hit, because it was taking much more advantage of the form, I think."
Grant Morrison, Superheroes: A Never-Ending Battle

Just as the Sliding Scale of Idealism vs. Cynicism determines the 'mood' of a series, this scale determines how much a particular series is unlike reality in relation to the natural laws, general conditions, and probabilities of Real Life. Stories also vary greatly in their realism concerning human behavior, but that trope has yet to be created.

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There are cases where the writers believe in something which most of the audience consider unrealistic; these should be judged according to the audience' standards, for no one knows exactly what a writer believes. There are cases where they got their facts wrong. If it's obviously deliberate laziness, the work deserves a place at the fantastic end, even if it's unintended.

There are also stories in which the precise cause of things is never delineated: both a naturalistic (positivist) and a supernatural explanation is possible.

Not to be confused with Mohs Scale of Science Fiction Hardness - a time-travel story with rigorous rules can be fairly Hard but decidedly Fantastic, for example. Sliding Scale of Like Reality Unless Noted charts the degree to which a work of fiction set in what is ostensibly a "modern", Earthly environment departs from Real Life.

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A story's way of dealing with Back from the Dead can often be a very good - but not the sole or final - indicator:

  • Mundane: Death is final. No one ever comes back from the dead.
  • Unrealistic: If anyone comes back, it's from Not Quite Dead or from improbably surviving events that should have killed them (but, of course, they Never Found the Body).
  • Unusual: People can outright come Back from the Dead, somehow, but it's a very rare occurrence.
  • Fantastic: It's difficult to come Back from the Dead and it has certain requirements.
  • Surreal: Death lasts about a minute.

The existence or non-existence of sentient extra-terrestrial life is another indicator of where a work might belong on the scale:

  • Mundane: Since neither sentient nor non-sentient extraterrestrial life has been proven to exist in real-life as we know it, the issue is moot and completely irrelevant in this work.
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  • Unrealistic: Works in this category mimics real-life as we know it, and any indication on the existence of extra-terrestrial life is deliberatively left vague.
  • Unusual: Sentient extra-terrestrial life can decidedly exist, but if so it is not common knowledge.
  • Fantastic: The existence of sentient extra-terrestrial life, and the far-ranging implications it brings with it, could be a center pillar of the work.
  • Surreal: Non-undercover aliens are commonplace and there's probably one in your workplace.

Some works can rank one or two steps up or down this basic scale.

Please list examples in an alphabetical order.


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    Mundane 

There is nothing that cannot be explained by contemporary science and nothing ever happens that could not conceivably occur in Real Life as we know it. A Dream Sequence is the only way in which the otherwise hyper-realism in the work can be subverted. The irrevocable and often brutal nature of mortality is often emphasized, if not the center-point of the story. The depiction of social injustices, such as exploitation of the poor on behalf of the rich, is another common thematic element. Films in this category may often be pretentious creations, often trying to be True Art. About the most 'fantastic' thing that happens here is a Contrived Coincidence or two designed to bring as much bad luck (or good luck) to the characters as possible. Science Fiction and Fantasy are by definition ruled out from belonging to this category.

Examples:

  • This Is Spın̈al Tap, to the extent that several famous metal musicians (including Ozzy Osbourne) mistook the film for a real life documentary, as almost everything that happened within it had actually happened to them at some point.

    Unrealistic 

The trappings of realism are there. The technology and the settings depicted do have their counterparts in, or are based on, Real Life as we know it, but the presentation is over-the-top. On very, very, rare occasions there may happen what would reasonably seem to be supernatural events, but we are never given a full explanation of what actually did transpire. Depending on the genre, expect either lots of crazy stunts and polished dialogue, and the notion of realism will almost certainly take a back seat to the Rule of Cool, Rule of Funny, or the Rule of Sexy. American Soap Operas also fit, because reality makes a lot of exceptions for the Rule of Drama.

Examples:

  • The West Wing, although it has mundane plots and settings, and thus is borderline realistic, the main characters are portrayed as over-the-top know-it-alls and the processes in which the federal government works is extremely simplified for dramatic purposes.

    Unusual 

The world is mostly semi-realistic, but it does contain more than just a few minor fantastic hiccups. It may be 20 Minutes into the Future or contain some Applied Phlebotinum which doesn't quite fit into conventional science. Supernatural events may occasionally happen, though they may fall under Maybe Magic, Maybe Mundane. Some 'hard' science fiction shows that are based on extrapolations of existing technology may fit on the upper end of this.

Examples:

  • Archer usually sticks closer to unrealistic, and is notable for averting several action tropes (such as Steel Ear Drums and Bottomless Magazines) but includes just enough sci-fi elements (such as robot imposters, clones, mind-control chips, and futuristic space stations) to sit here comfortably.
  • Grave of the Fireflies, narrated by a dead character. Take out the narrator, and the film would have been in the Mundane territory instead.
  • Jurassic Park and its sequels: Would obviously be Unrealistic if it weren't for its core premise of scientists extracting dinosaur DNA from amber and thus the ability to clone dinosaurs, which is clearly super-science in real-life.
  • Karlsson on the Roof is another Astrid Lindgren character who should fall into to this category as well. Much like Pippi, he lives in a mundane world where his ability to fly thanks to a propeller on his back is about the only unusual thing occurring.
  • Kotoura-san is very realistic except that Psychic Powers actually exist, but they are so rare that they are not recognized as scientific fact within the setting. While the culture itself is mundane, the narrative does follow the life and hardships of a Telepathic main character thus putting the story at this level.
  • Pippi Longstocking, only the title character (save her father to a lesser extent) does possess any fantastic abilities while the rest of the characters and the world in which they inhabit seem to be rather mundane.
  • Pirates of the Caribbean takes place in the real setting of The Golden Age of Piracy, but incorporates a number of decidedly unreal elements. Over the course of the series, Pirates of the Caribbean drifted into the next category down as the supernatural elements became more prominent and turned the movies into a Fantasy Kitchen Sink.
  • Pushing Daisies may fit here since aside from the protagonist's power to bring people Back from the Dead, the world is generally realistic.
  • Red Dead Redemption, aside from the DLC Undead Nightmare, which moves straight into fantastic, is realistic enough storyline-wise (Unless you think there's no possible way so much crap can happen in one guy's life.) Dead-Eye may be explained away as John Marston just being a damn good shot, but what can't be explained are such things that are optional encounters, like carrying a rabbit's paw to increase the amount of loot gotten off of killed enemies, a possible blessed object reducing the chance of enemies shooting at you, and of course The Strange Man, who only responds to questions with answers that provide more questions.
  • Scooby-Doo, for the first ten years of the series, anyway, where the only fantastic elements were Scooby and his relatives (the only animals that could talk). From 1980 onwards, any movie or series became fair game for Unusual (What's New?, Be Cool!), Fantastic (Mystery Incorporated, Zombie Island, etc.) or entirely Surreal (The 13 Ghosts, Scooby-Doo and Scrappy-Doo's Three Shorts).
  • The Seventh Seal, is set in an otherwise realistic medeival Crapsack World of Black and Gray Morality haunted by the plague, and in which Death is personified.
  • The Simpsons has a lot of bizarre gags that seemingly break the show's reality, but these rarely affect the episode plots, which tend to stay based in reality. Treehouse of Horror segments, however, can reach fantastic or surreal territory.
  • The Suite Life on Deck: Was Mundane to start with, but then you get plotlines like sentient robots who created themselves trying to take over the ship, having to travel into the future to prevent the ship from an alien invasion, and having to fend off an ancient curse put on you by a dead queen's crown.
  • Watchmen: Almost anything fantastic, futuristic or supernatural, can be (directly or not) brought down to Dr. Manhattan's powers - though they're huge. The rest is slightly unrealistic Alternate History.
  • Yamada-kun and the Seven Witches: The witch powers are an important part of the story, but they're a hidden part of the daily life on an otherwise mundane high school, and the story generally relies on Slice of Life humor and conflicts even though a lot of the characters use magic. Furthermore, magic only seems to exist on this specific high school - the rest of the world is completely normal. The college preparation arc as well as the epilogue are on the "unrealistic" end of the scale instead of "unusual" as they don't involve witch powers, but still has some over-the-top humor and a couple of cases of cartoon physics (such as Yamada lifting a gigantic boulder effortlessly)
  • The Dark Knight Saga fits here because of some slightly futuristic technology and being explicitly not set in our world. But save for a very few elements, The Dark Knight would have been unrealistic instead.

    Fantastic 

The rules of the real world, as we know it, no longer takes precedence, or may in some cases no longer be applicable at all. Divine intervention, magic or superscience are the prevailing paradigms by which a world in this category functions. Creatures exist that shouldn't exist in Real Life, and the setting might not take place on Earth at all. What ultimately sets Fantastic apart from Surreal is that these paradigms do have a certain internal consistency.

Examples:

  • Most of the Disney Animated Canon. Beauty and the Beast is a (if not the) prime example of internal consistency in a fantastic story where the background and the basic rules concerning the magic spell which transformed the prince to a beast (and his servants to house objects), and how it can be undone are disclosed in the opening narration.
  • Doctor Who is probably between Unusual and Fantastic on the definition, because while some stuff is semi-realistic in a few episodes, the effects of half the alien technology and generally setting may as well be magic as explained by Techno Babble.
  • The Harry Potter series. The tale of the three brothers, with Death itself acting as a character, takes it a little further into surreal, and is implied to be mythical even in the context of the series.
  • Haruhi Suzumiya: Haruhi's powers are borderline surreal, but it's at least based on Haruhi's mood so it's not completely rule-less; Nagato, Asahina's and Koizumi's are Fantastic; and Kyon is Mundane.
  • The Lord of the Rings and other works by J. R. R. Tolkien, which are set in a vaguely defined mythical past include (relatively uncommon) magic and fantastic creatures.
  • The Marvel Universe and The DCU. In fact, most superhero comics (and other superhero fiction, such as TV and films) where the hero and villain are explicitly powered.
  • Ranma ½. There's just way too many fantastic elements for it to be merely unusual, but there are some rules (e.g. the cursed springs), so it's not completely surreal.
  • Rick and Morty focuses on the titular duo travelling to bizarre alternate universes and planets using unrealistic, ambiguous science, but the show's internal logic generally remains consistent.
  • Roommates It's weird enough to be Surreal but has a defined rule-set (meaning it runs on story, trope and belief) to bind it all together.
  • Steven Universe is set in a mostly normal world, with the exception of the Gems. However, because the show focuses on a race of creatures that don't exist in real life, it qualifies as fantastic, though definitely leans closely towards unusual.
  • The Good Place is in this category, unusually for a show set in the afterlife. There are rigid rules in place, and how the show expands and subverts them is central to the plot and humor.
  • Who Framed Roger Rabbit: Of course, the Toon World is mostly surreal, but there are rules regarding the interactions of the "real" and toon worlds.

    Surreal 

The world has (almost) no rules or internal logic whatsoever. Anything can (and frequently does) happen, often with little or no explanation. Expect things to run on nonsensoleum. A Gag Series will usually fall into this.

Examples:

  • Felix the Cat is pure cartoon surrealism, sometimes going into outright fantasy, and is very stream of conscious and bizarre in story and tone, especially in the Silent shorts and Twisted Tales series.

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