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Medieval Stasis

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"Oh, god of progress,
Have you degraded or forgot us?"
Sufjan Stevens, "The World's Columbian Exposition"

So, you have a Heroic Fantasy with a long history in order to account for the fact that the Sealed Evil in a Can has been forgotten. You fast forward about five thousand years and reveal a world… exactly like the one you started in! Same kinds of tools and devices, same form of government, same language, same culture—you wouldn't even need to dress differently to fit right in.


Medieval Stasis is a situation in which, as far as the technological, cultural, and sociopolitical level are concerned, thousands of years pass as if they were minutes.

Heck, the "castles and knights" period of Medieval Europe didn't even make it to five hundred years, and compare these three castles to get some idea of how much things changed even then.

Furthermore, there have been no wars — between countries or civil wars — no redrawing of any inter-state boundaries. No new nations have arisen, and none have been subsumed into others or wiped out. No more or less land is under the ploughnote , no canals have been dug or allowed to silt up and no rivers have changed course or been made (un)navigablenote , and it certainly doesn't look like people have been making and accumulating things like brick and iron in the intervening timenote . There have been no demographic changes (both population increase and the subsequent inevitable decreasenote  have caused major changes), no changes of religion or religious observancenote , no changes of dynasty, no new organizations of political or social significance (such as guilds), no changes in art or music or clothing, no new fashions, and no changes in academic or philosophical studies. Despite the apparent age of uninterrupted peace, there will still be a professional warrior caste standing — with undiminished wealth and status despite their redundancy — for the entire period. If the landscape changes at all, even in the course of 100,000 years, it won't be due to geological processes, but due to magic. Otherwise, expect the landmarks and geography to remain identical across the eons.


Sometimes, in fact, it seems that things were better in the past, and things are slowly in a vague decline.

Of course, the saying goes that necessity of the mother of invention… and the reverse is also true. If a nation is generally acknowledged to be a much more safe, secure, stable, and more pleasant place than any of its neighbors, it may feel very little incentive for radical change. China and Rome went through long periods of relative cultural stagnation in this situation. The Egyptian empire lasted a good 3,000 years without changing a whole lot in most of that time. At the other end of the spectrum, a "primitive" Arcadia or Shangri-La that has everything it needs may feel no need to change things. Compared to Europe, old Polynesia could seem positively Edenic.

Sometimes justified by long-lived inhabitants (since much of real life change is driven by generational turnover),note  being a Scavenger World, having The Powers That Be artificially retard humanity's development, a general Creative Sterility caused by the ease and ubiquity of magic to solve problems, or other barriers to significant technological advancement. If some people do manage to create a Hidden Elf Village with advanced tech, it's Decade Dissonance.


There is an Enlightenment idea that the Middle Ages were a "dark age", in which the brilliance of the Romans declined. However, this only really applies to The Dark Ages, prior to the 9th century or so, when stone buildings weren't even that common. See also Analysis for additional facts about the Middle Ages.

Then again, the whole 'Medieval Stasis' thing could just be the creator's attempt to avoid Totally Radical or 20 Minutes into the Future by the most readily available means, with no attempt at in-universe justification.

It should also be noted that some fans genuinely enjoy the lack of technological development and would be rather dismayed to see their beloved fantasy world suddenly discarding swords, plate and mail armor, and other such standard fantasy tropes in favor of guns and industrialization (even though the former really were around then). Not that that's likely to happen in less than centuries, so only stories that feature Flashback or Time Skip that long really need to worry about it.

The availability of magic, be it of the controllable kind or otherwise, can have a huge effect — consider the influence reliable healing magic would have on the the development of medicinenote . Then again, past magic might have been responsible for the current situation in the first place. Besides, your average non-magical Joe would probably be all for technology, as it would end the magic user's monopoly over things like fast travel, healing, and most importantly, blowing things to bits… assuming Superpowerful Genetics is in place and prevents Joe from learning magic himself. It also raises questions as to why if wizards are so good they are content to let non-magic-using feudal rulers run things (unless the wizards actually do run things).

And then there's the question of whether science even works the way it does in the fantasy world the way it does in our real world. Considering that the Standard Fantasy Setting typically already violates some of the fundamental laws of science (wizards who cast fireballs and lightning bolts are essentially creating energy out of nothing, which goes against the laws of thermodynamics), who's to say that steam can actually serve as a viable source of power? Do the chemicals that make up gunpowder actually react the way they do in our real world, or do they just fizzle and pop, if they even do anything at all? You might be able to use oil to Kill It with Fire, but can that oil still power an engine? If it can't, would-be inventors and innovators don't have much to work with.

On the other hand, you probably still have water, rivers that flow, land, soil, and plants and trees grown in the soil. You'll have mountains, people and objects can fall and are held to the earth by default. Humans and animals will probably bleed. Castles and other structures have been built. In short, by default, the basic laws of physics will still hold.

Finally, "stasis" does not necessarily mean "stagnant". It's quite possible for a world to continually experience intellectual, political, demographic, or other changes even if some other element of the world remains the same for centuries. A world that becomes increasingly democratic, egalitarian and interconnected over the centuries might still have everyone wielding swords and wearing heavy armor in battles, particularly if in this world steam engines and firearms are scientifically impossible.

May feature in a Feudal Future, where there's a medieval-style social hierarchy ruled by hereditary nobility even if the technology is futuristic. Compare Modern Stasis, which is when the future doesn't look much different from the present day the show is set in. Also compare Humans Advance Swiftly, which is when aliens are amazed when this trope doesn't apply to us. A society that is perfectly aware of changes in other lands but chooses not to follow suit are probably Space Amish (assuming that they're not just, well, Amish). A related trope is Sci-Fi Writers Have No Sense of Scale, when the writer fails to comprehend the ramifications of the timeframe. Also compare to Muggles Do It Better, where in settings that separate the supernatural and the mundane world, the supernatural is locked in a medieval stasis while the mundane continues to advance. If parts of the world are stuck in Medieval Stasis and others have jetpacks, see Schizo Tech.


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    Anime and Manga 
  • The only major innovation in the past century of Attack on Titan has been the development of the 3DMG. Everything else is firmly planted in the late end of the Dark Ages (or in the case of the Inner Walls, the Victorian/Edwardian periods). Justified. The Central Military Police have been seeking out and murdering any intellectual thinkers who pushed people to ask questions and seek answers, as well as people who tried to innovate. One unlucky couple was two steps away from inventing a working hot air balloon before the Central MP stepped in. They justify this by saying it ensures stability. Outside the walls, however, technology has advanced much more rapidly, to the point where it seems to be at around an early 20th century level. With most nations fighting off Titans (which are actually living weapons of one specific nation) with missiles.
  • The underground villages of Earth in Tengen Toppa Gurren Lagann have been in a state of technological stasis for a while, because the village elders proclaim that leaving the villages equals death. This is justified however because of the Beastmen on the surface, whose sole purpose is to crush mankind. Further justified in that the Beastmen were devised not to evolve beyond their current state, because the Anti-Spirals would detect if there were more than 1,000,000 humans on the surface of the Earth and would promptly wipe out the human population.
  • The world of The Twelve Kingdoms changes little from year to year, although this might have something to do with the world being run by rigid rules governing the selection of rulers and commerce and travel between the kingdoms. Additionally, many of its leaders are immortal and have been strictly charged by the heavens with achieving and maintaining a happy status quo. The lack of any fossil fuels might also be a cause. However, a number of innovations, such as Buddhism, were introduced by people from Earth Trapped in Another World.

    Rakushun also credits refugees from Earth with introducing paper, print and ceramics (presumably an advanced type of ceramics, like porcelain?). They use Chinese characters and social structures. Presumably the gods ran off 12 copies of classical China for reasons of their own. Their technology might be 'stagnating' at the level of late China, no steam (but no coal) or electricity (if that even works), but good mechanisms… the fact that many kingdoms get major disasters every 50 years or so when the king dies won't help.
  • In Scrapped Princess, what at first appears to be a stock Medieval European Fantasy setting is actually the ruins of a highly advanced society possessing artificial intelligences, computer systems, and flying fortresses, not to mention Humongous Mecha. Their society was artificially sealed into the Dark Ages by an external force after the collapse of this civilization. With stability enforced by genocide of uppity populations.
  • Kyo Kara Maoh! centers in the Great Kingdom of Shin Makoku, which is purportedly 4,000 years old, and has been ruled by the same, true-breeding twelve families the whole time, without any advancement of technology past 'horses and swords,' and an apparent decline in magic. Partially justified in that they've been being shepherded through all that history by the deific presence of their first king, who picks all their new kings and protects them, etc. Less justified in that the rest of the world has only moved forward very slightly, either.

    A lot of the same countries are still around from four thousand years ago, some of them still ruled by the same family who ruled them back then. Or the family that exiled that family and took over, if the previous family was an ally of our guys (the Big Bad rules a country previously ruled by Conrad's father's family, loyal human allies of Shinou). With reference to this, Conrad inserts himself into the middle of a succession dispute in Season 3, to distract the new villain who had the last one offed. On the other hand, the Mazoku, the race occupying Shin Makoku, appear to have bred to be incredibly long-lived in the four thousand years since breaking off from the rest of humanity. Apparently concentrating the magic-user genes can have really impressive effects.
  • The world of Berserk has been in the Middle Ages for the last millennium or so. However, during this time span the world has seemed to have progressed through The Low Middle Ages and the High Middle Ages, and is currently in a stage that seems to combine The Late Middle Ages with elements of The Renaissance and The Cavalier Years (this is more or less the time it took for real-world European cultures to progress through these stages).
  • In The Familiar of Zero technology is currently the equivalent of 16-17th century Europe despite the current civilizations having stood for six thousand years with few major changes in ruling. One possible explanation is seen in the reaction of nobles to an internal combustion engine: It's a cute novelty, but they can do the same with magic and it'd be wasteful to make something like it for commoners. Besides, said engine only makes a little mechanical toy snake head move instead of trying for something more practical like a horseless carriage or a motorized crane.
    Additionally as nobility is virtually synonymous with being a mage the great majority of well educated people, who are the ones that would normally carry out most innovation are magic users, who would mostly have little use for most of the inventions of this time period and earlier.
  • In Kumo Desu Ga, Nani Ka? the world where the protagonist reincarnates has been in a medieval or similar state for several centuries. This is explained by two factors.
    • Monsters are powerful, wide-spread, and come in large numbers. As a result humanity has been condensed into smaller, defended locations and much of the world is unknown to them. Even the seas are off-limits as dragons will attack anything that enters them.
    • As a result of the ancient civilization's disastrous war, the System was implemented. To promote personal combat, certain chemical reactions such as the burning of gunpowder is suppressed within the System.

    Card Games 
  • Magic: The Gathering has quite a lot of examples:
    • The City Plane of Ravnica has apparently been ruled by the exact same ten guilds for 10,000 years and counting. This is handwaved to some extent by the existence of a powerful magical pact binding them all, and some change seems to have still happened. But some of the stuffs don't quite add up (e.g., it's hard to picture the fractious slum-dwelling Gruul Clans having been the way they are now from the beginning, for one thing). Still, seeing how much happened in the same time in Real Life (i.e., basically all of recorded history, plus as much time in late prehistory), it's probably a good example of game designers having no sense of scale.
      • Of those said ten guilds, four are still ruled by the same immortal magical creatures that signed the Guildpact, two are ruled by immortal councils, one is basically the physical manifestation of hidebound bureaucracy, and the other three are more or less insane and generally poor at long-term planning.
      • With the Return to Ravnica block, the Simic actually go back to melding with magic, rather than using the more scientific-sounding cytoplasts they favored in the classical Ravnica, because an unfortunate incident involving the Guild's leader and a giant blob monster Kaiju made them virtually unsellable.
    • The Tarkir block has the first (Khans of Tarkir) and third (Dragons of Tarkir) sets form the alternative versions of the plane's present, with the second set (Fate Reforged) taking place 1,200 years in the past. The differences between Khans and Dragons are far more pronounced than the differences between either and Fate Reforged, to the point that most of the clans even dress the same. This may be a case of Gameplay and Story Segregation, as the art of cards is meant to include the mechanical colors involved, so (for example) the block's red/white/blue clan will always be dressed primarily in red, white, and blue.
      • But that still doesn't excuse why the clothing styles remained so static: Even if colors are fixed, clothes could still vary in terms of, say, shapes, proportions, materials, etc.
      • The fact that the five clans have persisted for more than a millennium is also rather jarring. Look back at human history, and the vast majority of empires didn't last more than 300 years. Millennium-spanning empires did exist (e.g., the Roman Empire) but were an absolute minority. One of the clans has persisted for 1,200 years? That's... okay. All five persisted for 1,200 years? That's a little bit less believable.
    • Surprisingly for a set explicitly focused on history, averted with Dominaria. Sixty years after the apocalyptic events of Time Spiral, the plane is covered in a variety of diverse cultures that, while they share the names of their ancient counterparts, have radically altered aesthetics and values, with advancements in both technology and science. There is a strong Scavenger World component, as to be expected from a world littered with the abandoned war machines of several apocalypses, but all in all the cultures of Dominaria have only advanced since they were last seen.

    Comic Books 
  • Justified in-universe in The Adventures of Barry Ween, Boy Genius. Barry travels through a dimensional wormhole to the world of Ramaat, which is locked in a Medieval Stasis due to "The Drain"; a natural phenomenon that causes all power to dissipate rapidly. Even ordinary fire is not possible. Being that Ramaat is a world with three suns, this actually makes sense, as it would keep the world from being cooked by solar radiation.
  • Thieves & Kings has this without explanation — there have been (many, many) wars, mind, but one character moved from centuries in the past to join the main characters and no-one even comments on her accent.
  • Requiem Vampire Knight: progress of any kind is considered taboo and outlawed by King Dracula's edict, with any technology that finds its way into Résurrection being buried by the Archaelogists in order to prevent it from falling into the hands of those that would overthrow the current regime. The society itself relies on demonic magic, though some technology is available in form of air / spaceships. However, Dracula and the Archaeologists are the only ones allowed to use any advanced technology.
  • In The Avengers, it turns out Odin was a member of the Prehistoric Avengers. He had created the Mjollnir at a time when the Earth was in an Ice Age and humanity was only starting to evolve. Fast forward to the 21st century, and humans have anti-gravity, energy weapons and other weird science tech while the Asgardians are still using chamber pots and catapulting the full ones over the Asgard walls.

    Fan Works 
  • In With Strings Attached, while Ketafa is a thriving quasi-Victorian society with factories, guns, and at least one motorized vehicle, Baravada has completely stagnated, technology-wise (though they are rife with magic), and the inhabitants brush off inventions as “tinkerings.”
  • In Finishing the Fight, magic is justified as the reason why society has remained somewhat stagnant. Why build a dam when you can just have a wizard divert a river for you with a spell?
  • In The Fall of the Fire Empire, this is justified. While taking place in an era analogous to The Legend of Korra, technology has barely advanced from what was around in the original series. It's eventually revealed that the imprisonment of the Moon and Ocean Spirits unintentionally trapped the natural world in social and technological stasis because of the metaphysical disruption to the Balance of all things. The world can only get worse but not better until the Spirits are freed.
  • In Fractured, a Mass Effect/Star Wars/Borderlands crossover and its sequel Origins, hyperdrives, turbolasers, and other tech haven't really changed over the millions of years since Star Wars Legends took place. Justified In-Universe by invoking "dark ages" in which the galaxy is nearly destroyed many times (with what happened in EU canon, this isn't as implausible as it sounds), after all, aliens did it.
  • In Harry Potter and the Natural 20, Milo nearly has a Heroic BSoD when he thinks over the state of Muggles in the Potterverse and realises that magic has been keeping his own world in the medieval ages for thousands of years.
  • The setting for Empath: The Luckiest Smurf, following mostly from the continuity of the cartoon show.
  • Many anti-TCB fanfics illustrate how even though Equestria and the ponies have things like magic on their side, humanity's much more advanced technology (and prowess in the ways of warfare) makes for a pretty tough Curb-Stomp Battle in itself. In The Conversion Bureau: The Other Side of the Spectrum, the canon universe's Discord even calls Celestia out on how her vision of "harmony" caused pony civilization to become a stagnant Sugar Bowl and the ponies themselves becoming complacent.
    • Also from Spectrum, Celestia believes that Discord's idea of doing things was too chaotic to allow any pony civilization to grow at all, and that was why she took over. It goes back and forth whenever or not it actually applies or development is just really slow; it is often acknowledged that, while they are both trying to do what they think will help, it is also possible that they are both wrong and there needs to be a third option. Then we get to see human/pony runic technology in action a while later.
    • The Deconstruction Fic and satire, The Conversion Bureau: Not Alone makes the case of how the ponies' dependency on magic has made them arrogant in several ways, and completely and utterly unprepared for bullets, bombs and missiles. And then in its sequel fic The Conversion Bureau: Conquer the Stars, the gryphons (being similar to humans in terms of history) deliver what was essentially the killing blow to Equestria in the war they declare on them, just by being much more technologically advanced.
  • In The Rise of Darth Vulcan, the title character realizes that this is one of the side-effects of having essentially an immortal goddess for a ruler. Celestia and Luna hesitate to change things from what they knew from when they were foals, likely due to the Nostalgia Filter, and the desire of ponies to imitate and please Celestia takes care of the rest; showing dislike or even just boredom towards something will doom it to be ignored or even discarded. According to Flim and Flam, heavier-than-air flying machines were reinvented five times in a period of three hundred years, only to be discarded within the decade and forgotten each time.
  • The Assassination of Twilight Sparkle has the explanation that there are a lot of traditionalists that insist that things should be done magically or by hoof, even though other nations are developing their technology to the point that Equestria is falling behind. These traditionalists are part of the reason Twilight met such opposition with her reforms, though things are changing in that regard now.
    • As Pinkie's chapter reveals, this also applies to medicine, with many ponies with mental problems simply declared lost causes because there's no magical cures for their conditions or arcane treatments in the works, with many simply locked up in sanitariums. Pinkie is lucky enough to have a family that can afford to import the medicine she takes, allowing her to be herself and use her talents while maintaining her sanity, but others aren't as lucky, which is part of the reason Pinkie supported Twilight's attempts to advance Equestria's medicinal knowledge.
  • Zigzagged in Sonic X: Dark Chaos due to the setting's massive Schizo Tech. Demon and Angel technology, while still making advances, has stagnated due to endless warfare between them, while Jewish and Muslim technology are deliberate held back thanks to religious fiat. Meanwhile, the Marmolims only regressed due to a near-apocalyptic Shroud infestation on their world.
    • Justified with the Shroud, since no known biological species in the universe can resist Shroud corruption. Indeed, the fact that Dark Tails is making them evolve anyway utterly terrifies both Maledict and Jesus.
  • Lampshaded in Zero no Tsukaima: Saito the Onmyoji by Old Man Osmond. Both Halkagenia's technology and magic are far behind Earth's and Osmond theorizes it's because with the Church (which is highly conservative in nature) mediating between the countries, they haven't had any large scale wars in millennia. On Earth there's numerous magical factions at war with each other, leading to constant innovation. For example, what Halkagenia considers the best locking spell in the world, Saito considers remarkably simple.

    Films — Animation 
  • The Axiom in WALL•E plays with this. As far as we are shown, all the robots and technology on the ship has remained the same, with variations being only being cosmetic differences ("Blue is the new Red!"). Justified because the people on board have everything provided for them (causing them to go extremely fat), and the ship is run by robots, who have set objectives, none we see are dedicated to R&D. Some things have changed however. We see the captains get fatter (and more cartoonish) in one scene, but they also live progressively longer (implying that medical knowledge and technology to deal with the health problems inherent to obesity have progressed, at least).

    Films — Live-Action 
  • The Predators' technology is never seen to advance regardless of whether they're hunting pirates during the Age of Sail, gangbangers in modern-day LA, or marines and xenomorphs in the future. The Expanded Universe offers a number of explanations: one is that the yautja's tech is stolen from an older race that attempted to occupy their planet, so they can replicate and adapt it, but lack the understanding of its base principles to improve on it. Another is that the Predators' society revolves completely around the hunt, and they've lost all interest in intellectual pursuits. A related theory is that their current set of hunting equipment is deemed "sporting" and will be used regardless of further advances, much like how humans still hunt deer with firearms or bows rather than smart bombs or armed drones. The latter is suggested in the comic Aliens vs. Predator: War, where a team of yautja assaulting a hive on a xenomorph-dominated world to capture its queen leave the spears and discs behind and take plasma rifles and grenades.
  • The Na'vi of Avatar have existed as a tribal hunter/gatherer society for longer than humanity has existed, making theirs a case of Primeval Stasis. Unlike Homo sapiens, the Na'vi have a stable population, don't suffer from diseases, and the planet itself provides them with quite advanced biotech for free, so they have no incentive to advance beyond neolithic technology. Due to these innate connections to their sentient planet and the rest of its ecosystem, they're arguably extensions of Pandora rather a real "alien race".
  • Kryptonian technology in Man of Steel. A 20,000-year-old ship buried deep beneath the ice in Canada is able to recognize and upload Krypton's own version of a flash drive that was only created 33 years ago. That certainly shows that they haven't upgraded since then, but it's also revealed that Kryptonians had flourished and prospered for hundreds of thousands of years already anyway. That Kryptonian society was largely static for hundreds of thousands of years was pretty much explained straight up in the Infodump from Jor-El's avatar.
  • The Asgardians from Thor: The Dark World are an interesting case. They are a society caught in medieval stasis that is advanced far beyond medieval times. They are shown using the same weapons (swords, shields, and spears), technology, and armor 5,000+ years ago as they do in modern times. Horses are a common form of transportation. Yet they can harvest material from stars, have flying machines, and travel between worlds through wormholes. Implied to be a combination of their extremely long lives, emphasis on close combat, use of magic, and being at the top of the food chain so long and eliminated all of society's ills that they have no reason to change. It's also intentionally vague how much of this is just aesthetics; their spaceships are made to look like longships while their armor and shields incorporate force fields. More advanced technology that kept with the theme would be visually indistinguishable.
  • Planet of the Apes had ape society. Though some apes are seen using basic guns, their technology is mostly medieval. This is true in the TV series set in 3085, the first movie set in 3978 and the last movie (of the original continuity) set in the early 21st century with some scenes in 2670. Even clothing styles stay the same. This is complicated by the fact that the place of the TV series in the film continuity (if at all) isn't confirmed and the fact that it's uncertain whether the movies are in a closed time loop (so whether the society in the early 21st century becomes the one in 3978). The animated series did actually show ape society with 20th century technology.

  • The Lone Wolf series of gamebooks is set on the planet Magnamund, which was declared by Word of God to be in stasis. This was actually retroactively enforced after another writer created a series of straight novels telling the story of the gamebooks and ended one of them with a Distant Finale set in a modern future.

  • J. R. R. Tolkien's Middle-Earth (The Lord of the Rings, The Silmarillion, etc). Generally speaking, over thousands of years, the basic technology appears to be the same — for the most part. However, everything was grander and more magical in the First Age, and the Elves are fading away as of the Third Age. They are in their "autumn, never to be followed by another spring". The ages of the world tend to end with eucatastrophe, meaning any technological advances were lost to Middle-Earth between ages. Either the technology itself was lost to all knowledge or the Elves took it away with them as they left Middle-Earth. Still, while technology, armor and weapons in particular, is generally described in the same terms over the ages, there are indications of advances, though they are usually unique to certain cultures and simply don't become widespread as in the modern world.
    • The peoples of the First Age had the best tech of all. The Elves built a ship of mithril and elven glass that could travel through the sky and the Void (outer space). When Morgoth invaded Gondolin, according to one version, his troops rolled across the mountains with "great engines with fire in their bellies" that could flatten defense towers and carried hundreds of orcs inside. Sounds very much like he had access to large APC vehicles. However, this is glossed over in later versions. The Elves also invented magical lanterns with an everlasting blue flame which never get mentioned again later. The Dwarves invented chain mail, which later spread to most cultures in Middle-Earth.
    • At the end of the Second Age, when Númenóreans under Sauron's guidance get engines, ships made out of metal and possibly missiles ("Our darts are like thunder and pass over leagues unerring."). See The Lost Road, HoME V. They also develop bows made out of steel.
    • At the end of the Third Age, Númenórean settlement in Middle-Earth produced structures beyond the ken of most people, so that even their descendants the Gondorians couldn't match them. The wizard Saruman encouraged industrialization, though this isn't necessarily portrayed as a good thing as it was for his war effort. He and fellow wizard Gandalf both used gunpowder for military and benign purposes (bombs and fireworks). The Dwarves also invented "metal hose" that was even better than chain mail, though they kept the knowledge for themselves.
    • Word of God has it that Medieval Stasis ended entirely from the Fourth Age on due to the Elves' magic no longer stopping the world from "changing", and that Middle-Earth is the world we live in many thousands of years ago. V-J Day at the end of World War II in this chronology marks the transition between the Sixth and Seventh Ages. However, all the magical and otherworldly aspects of Middle-Earth slowly faded away until only Men and material things were left (although the hobbits and goblins are said to have lived on in hiding, the goblins even designing some of mankind's nastier weapons). The Elves of the First Age didn't have modern technology because they didn't need it; they had all sorts of magic and magical materials that allowed them to make things like the aforementioned flying ship.
    • Completely averted when it comes to languages, though. Early on the Elves are separated into (roughly) Wood Elves and High Elves who meet again after about 3,000 years of living on different continents, their once common language having evolved into two different tongues. Same goes later on when Nùmenorean ships reach Middle-Earth again after a 500 years separations and the ambassadors have a hard time understanding what the others are saying but manage in the end since their languages have not strayed that far apart. Finally in the third age, the remnants of Númenor (Gondor and whatever is left of Arnor like the Shire) both speak Westron, which is to Adûnaic (the tongue of Númenor) what modern Romance languages are to Latin, but there are already differences appearing: loanwords (like "orc" comming from the elvish "orch" instead of "goblin") and the fact that in the Shire the formal form of the second person has been dropped.
  • Star Wars, wherein, according to the Expanded Universe, the Galactic Republic has been socially and technologically stagnant for at least five thousand years (out of twenty-five thousand years of its history).
    • It's quite plausible that the Star Wars galaxy has "maxed out" its technological development. This galaxy had a starfaring civilization for thirty thousand years. Sooner or later they were bound to run out of new laws of physics to uncover. Likewise, the social stagnation of the Galactic Republic was imposed by the Jedi Order: the Sith were responsible for most efforts to overthrow the Republic, which brought the Jedi in on the Republic's side. So the Republic itself was never under much pressure to reshape itself, because the Jedi would support it against any truly menacing outside threat.
    • The earliest comics do show that space wasn't nearly as well-explored five thousand years before the movies, and there's a throwaway line somewhere in Tales of the Jedi (circa 4,000 years before the movies) about hyperspace craft having to use jump beacons to navigate instead of their own ships' computers.
    • Also, blasters appear to have been given a major upgrade from KotOR, genetic engineering occasionally shows up despite taboos, superhuman AI are and have been standard for ships (Millennium Falcon's droid brains), and megascale/planetary engineering is in fact common since KotOR II and before.
    • Luke's artificial hand he got in Empire Strikes Back appeared to be way more sophisticated than the less attractive metal one given to Anakin at the end of Attack Of the Clones, but this just as easily could have been Jedi proscriptions against vanity or Anakin's desire to make the limb simpler and easier to service himself at the expense of aesthetics instead of actual technological development. Neither artificial hand seemed to differ in functionality from a human hand at all; Anakin's "clunky" prosthetic hand makes the most cutting-edge prosthetics of today look like stone tools and could do anything a human hand could.
    • Lightsabers used to have external power supplies attached to the wielder's belt.
    • Technology does seem to be moving forward: the A-wing, AT-ST, and AT-AT, for instance, were canonically invented between the films. Not to mention that the plot of the very first film was entirely driven by a new invention.
      • Depending on which EU sources you read, it is implied that the "advances" that allowed the creation of the Death Star were political, not technological. A massive engineering project like that requires a strong centralized government with access to resources far beyond what the Old Republic (a loose confederation of more-or-less autonomous member worlds, lacking even a standing army until the prequels) could command without the willing participation of a large number of member worlds. Not to mention that there was no need for such a weapon in peacetime. They had the tech to build it all along, just not the resources or will.
    • Star Wars follows a curious trend of 'punctuated equilibrium', with long stretches of technological and cultural stagnation shaken up by some event (usually a war) that jumps things forward a bit before settling back down. Most of the Expanded Universe deals with the era starting with the movies, which has been in a near-constant state of crisis or agitation for most of a century and has seen several galactic upheavals, with advancements in technology to match.
    • The most prominent examples are Endor and Dathomir, which compared to the rest of the galaxy fits this trope.
    • In some areas the Star Wars galaxy seems to have actually regressed in terms of technology over the millennia. For example, even the weakest of mass production battle droids of the KOTOR era are far more intelligent, can operate independently, possess greater tactical A.I., durable, and deadly than all but the best of the mass produced battle droids built in the prequel era despite the 4,000 year gap between them, the former even possessing energy shields on a good deal of units giving them the capacity to go up against Jedi on somewhat equal footing. In fact, even mining droids armed with just mining lasers in the KOTOR era can be somewhat effective threats to even trained soldiers just with some reprogramming to make them able to kill. It's possible the regress is due to the fact these droids were used to fight Jedi, and thus their production was later banned or discouraged until the technology stagnated. Some EU stories also have droid revolts that could have also made this illegal/taboo for centuries.
  • The Discworld is generally an exception to this trope — you can see technology and culture changing from year to year — but it was a plot point in Pyramids, where the kingdom of Djelibeybi is caught in this state, thanks to a time loop generated by an oversupply of pyramid power. Having said that, the TV adaptation of Hogfather included a flashback to Alberto Malich's childhood, two thousand years ago... using the same vaguely Georgian costumes and streets as in the main story. (Although to be fair, it's not actually stated that Albert's 2,000 years old in the TV version.)
    • It has also been mentioned (especially in the Science of Discworld series) that a world where many tropes (such as the Rule of Funny) are fundamental laws does not lend itself to technological advances — things are simply too unpredictable.
    • Ankh-Morpork and the Empire were locked down for centuries in-story, while Klatch advanced. The changes were caused by Twoflower introducing new ideas, which business-minded tinkerers were able to replicate. This set minds thinking in new directions, and competition forced the tech level up.
    • In general over the last half of the series there's been something of a metaplot of Ankh-Morpork (and since Ankh-Morpork is the Fantasy Counterpart Culture to England, the rest of the civilized world) breaking out of the Medieval Stasis.
    • The dwarfs, too, broke out of Medieval Stasis somewhat recently, due to the invention of safer means to deal with gas pockets some 50 years ago. This kicked off social upheavals that led more dwarfs up onto the surface, where their skills and competition probably helped spur humans' own inventiveness. This has gone on to the point that Ankh-Morpork is now the largest Dwarf city on the Disc outside of Überwald, even though they are still a minority there.
    • Krull is indicated to have made many magical and technical advances in the name of seeking knowledge... and they aren't inclined to share.
    • The general temperament of some of the Disc leaders also leads to stagnation. Goldeneyes Silverhand Dactylos made a metal golem army for the Tomb of Pitchiu; it cost him his eyes. He made new ones of gold and relearned his craft, making the fantastic Palace of the Seven Deserts for the Emir; it cost him his right hand. He made a new one of silver and built the first of the great Light Dams for the tribal councils of the Great Nef; they hamstrung him. All to keep him from sharing secrets or doing anything as great for anyone else. Finally, Dactylos came to Krull, creating a great fish-ship for them and asking only not to be mutilated in return. The Arch-astronomer agreed — but had him killed. Not a history to encourage other innovators.
    • Vetinari himself has invoked this trope in the case of Leonard of Quirm, keeping the genius inventor isolated in his workshop and suppressing those inventions (such as the gonne) which could potentially destabilize his city too much. On the other hand, the rise of the clacks and implied infrastructural changes still to come (the "Undertaking") suggest he's no longer suppressing innovation: he's steering it so both stagnation and chaos are avoided.
  • The Dune universe is kept intentionally technologically stagnant, for different reasons depending on the time period. In the distant past, humanity rebelled against the thinking machines that had all but taken over; the outcome of this jihad was an absolute prohibition on machines mimicking human thought processes. In the original Dune trilogy, the proscriptions of the Butlerian Jihad are still in force, combined with a situation of hydraulic despotism as all interstellar travel, communication, and commerce depends absolutely on the spice. Then, in Leto II's reign as God-Emperor, he takes this to the ultimate extreme, forcing society (by means of overwhelming retribution backed up by prescient vision) to abandon most technology and live in a primitive, idyllic manner. This is all designed to cause a massive upheaval after his death, and indeed it does; a forced withdrawal from the spice motivates the construction of devices capable of interstellar navigation, "no-ships" that are immune to prescient detection, and a general release of three thousand years of pent-up innovation. By the time of the last two books, a Lensman Arms Race has resulted in weapons capable of sterilizing planets and literal fleets of no-ships.
    • The prequel novels reveal that some progress was indeed made on the two technological planets: Ix and Richese. In fact, it was a Richesean scientist who first invents the no-field generator and builds the first no-ship, as an extension of Holtzman's theories. It is, however, not immune to prescient vision but is otherwise completely undetectable. This technology is lost, though, when the Emperor orders the lab destroyed in an unrelated matter. The Ixians have also improved the heighliner design against the opposition from House Corrino.
      • Said opposition has nothing to do with technology and everything to do with money. House Corrino receives a set fee for each fold-jump. The new heighliners are able to carry 20% more cargo. This means that fewer jumps would be required to move the same amount of cargo or number of people. Thus, House Corrino would receive less profit.
  • In Succession (published as The Risen Empire in the UK) by Scott Westerfeld the Risen Empire has been technologically stagnant for about 1,000 years as a result of the ageless Risen controlling the entire government. The Empire's enemies, who lack immortality, do keep advancing.
  • The Star Trek novel Here There Be Dragons features a medieval culture which has been transported off Earth and apparently remained the same for 900 years. The stagnation is explained by the low population and isolation of the cities (because of the eponymous dragons), and it's demonstrated that the culture hasn't completely stagnated, as apparently they've managed to invent a better suspension system for their horse-drawn carts. At this rate they'll invent steam power around the time their sun burns out.
    • A similar concept is used in an episode of Star Trek: Enterprise, only with an Old West town with a period drift of about 300 years or so. They were kidnapped for slave labor but rebelled, destroying the alien ship which brought them. Similar to the above example, these people were stuck on a desert planet with the towns separated by a fair distance. Their stagnation is partially justified through paranoia; they're unwilling to let the descendants of the original aliens know that they were once a spacefaring race that enslaved the humans, even though said aliens are forced to live in the remains of the very ship the humans destroyed. One of the characters even lampshades the lack of progress.
  • Steven Erikson's Malazan Book of the Fallen is an extreme example: the world has a history stretching back three hundred thousand (300,000) years and more, yet technology is still medieval (except for the existence of dynamite-like munitions). Lampshaded and justified by Samar Dev in The Bonehunters: She notes (laments, really) that the power of the Warrens means they will never really have a need to strive for technological solutions to their problems. If they can't magic it, they'll just buy or trade for what they need from another race.
    An additional reason is that most human empires in the Malazan world are very short-lived and humanity is thrown back culturally and technologically regularly over the millennia, due to violent upheavals. The one empire that did survive since the fall of the First Empire, Lether, has magical reasons for being put in a — literal — stasis.
    And of course ancient civilizations were more technologically advanced: The K'Chain Che'Malle had anti-gravity devices, lasers and nanobots while the Jaghut heavily dabbled with genetic manipulation.
  • In David Eddings' The Belgariad and Malloreon book series the stasis of the world is explained to be a side effect of the accident that divided creation into two opposites. The future cannot happen until the effects of the accident are undone and the two possibilities are combined back into one.
    • This doesn't stop technology from advancing throughout the 7,000-odd years that Belgarath the Sorcerer covers. It just moves very slowly. Most of the really drastic inventions and discoveries (especially weapons of war) were made by the sorcerers themselves, usually after centuries or millennia of study, but outside of their fraternity, technological progress seems to have been suppressed by the contrivance of the gods.
    • Part of the problem is the various countries tend to limit contact with each other to varying degrees,with the inhabitants of Nyissa being the most xenophobic. Once the different countries have to work together against the Big Bad, information starts being exchanged and several inventions are made just to deal with the circumstances.
    • In The Elenium, soldiers summoned from the ancient past use Bronze Age armor and weapons.
    • Played more believably in The Redemption of Althalus. The eponymous protagonist is around 2500 years old, and civilisation has advanced from early bronze age to a Greco-Roman level during his lifetime. The main antagonist is significantly older (about 10,000 years), and it's noted that things were much more primitive when he was born and it's heavily implied that he was among the first behaviourally modern humans (although unlike in the Elenium it's not established whether humans were created as is or evolved).
  • This is being enforced by the gnomes of A Practical Guide To Evil, who have such an overwhelming technological advantage over all other civilizations that they completely eradicate any society that begins investigating technologies they consider forbidden.
  • Both justified and averted in L.E. Modesitt's The Saga Of Recluce series. Although some technological progress is made, the eponymous island's government suppresses the knowledge in a mistaken belief in Status Quo Is God, and keeps things under control within its sphere of influence. However, the Big Bad empire on the other side of the world has been busy inventing…
    • That universe's laws of chaos/order physics also mess with thermodynamics, making some technology, such as steam engines, require wizards to hold it stable.
    • The series is very good at illustrating how a cultural dependence on magic will tend to cause stagnation, or at least greatly limit technological progress. A fact which is actually lampshaded in at least one book. It also takes the logical course of having the nations most dependent on magic be ruled by their most powerful mages; and shows the effects this would have on politics.
    • Also, the laws of that universe are radically different, so stuff like electricity might not even work. There were at least 2 civilizations that came from other universes; Westwind and Cyador (although they possibly come from the same one). Of course, in the story line, civilizations and technological level rise and fall. Cyador, in the earliest of the chronological order, had something that sounds like nuclear reactors, although, to be honest, they were failing. Cyador was industrialized, before it was wiped out by disaster, although they were declining by then anyway. Fairhaven, the next city to hold a major chaos civilization, got wiped out by what could be best described as a nuclear blast (extreme application of magic powers). Guns are around, but since a wizard can blow them up from afar they are not used. Of course, the biggest justification is that if you have a steam engine outside of water, it has to be constantly tended to by a wizard or else it blows up. Ships can have them though. The Order civilizations like Westwind and Recluce prefer no advancement because advancement is chaotic, and thus frowned upon. Of the civilizations that balance the powers of Order and Chaos, one is a bunch of tree hugging druids who believe in communing with nature, and Hamor hasn't really been featured enough of yet to tell. Hamor does seem to be advancing though. Oh, and if you come from a civilization that is not run by mages? You get trampled by the ones that do.
      • Assuming Cyador is a descendant of the ancient Rationalist Demons (as seems probable) they were using laser-based tech, and the towers were likely fusion, not fission. This world is /not/ a good example of the trope, however, as technology advances from crude iron swords to highly advanced cartridge rifles and steel battleships in a reasonable timeframe despite the magic issues, and you can see the progress in each and every book (except for the ones written about the same characters).
  • In The Memory of Earth by Orson Scott Card, humanity has been stuck at the same technological level for 40 million years. They're colonists, genetically modified to be susceptible to mind control by an advanced AI which was programmed to prevent technological advance past a certain level, since its creators have seen that as the cause of wars and misery back on Earth. On the bright side, they do have the chariot now! This amazing feat of engineering was baffling and unheard of until lately. Technology that isn't applicable to war is actually fairly common, though, such as levitation pads for cripples, some advanced data storage and one or two things like that.
  • In Captive Universe by Harry Harrison an Atzec culture survives unchanged over centuries, hidden in a remote valley. They turn out to be unwitting travelers inside a huge spaceship.
  • A Song of Ice and Fire averts this by casting doubt on the in-world historical records. Although Westerosi history seems to suggest medieval stasis at first glance, it appears more likely that this is a combination of legendary history and Westerosi historians projecting their own culture onto historical figures (by casting historical persons as medieval knights and lords, when they were likely nothing of the sort). This is shown most explicitly in a Sam chapter early in A Feast for Crows, where he complains that the historical records are full of kings who reigned for hundreds of years and "knights riding around a thousand years before there were knights". Although, why Sam knows better than other historians in this regard is never explained note .
    • The fact that the Order of the Maesters is nowhere near as non-partisan as they'd like to have you believe and that they don't really seem keen on the idea of innovation in general could explain it — a Medieval Stasis is what they want, and as the prime intellectuals in Westeros, they're able to enforce at least the perception thereof.
    • Additionally, Sam spends most of his time in the library at the Wall, which is stated to be a treasure trove of historical information (as it lists all Lord Commanders and important things that have happened in the Night's Watch) but is so remote that very few Maesters, or southerners generally, even bother to visit.
  • In Janny Wurts's Mistwraith series, five immortal wizards have forcibly maintained medieval stasis for more than 10,000 years, by removing the memories of anyone who discovers technologies they disapprove of.
  • In Steven Brust's Dragaera novels, this is a Justified Trope within the Dragaeran Empire. While magic leaps forward after the Interregnum due to divine intervention, the Great Cycle of the Empire keeps society spinning through an endless stasis. Dragaeran Kingdoms and the Eastern Kingdoms, however, have also stagnated for hundreds of millennia without any apparent justification.
    • Implied in Vallista that the Jenoine have done something to Dragaerans and humans to prevent them from being innovative, as part of a sociological experiment.
  • In Yulia Latynina's Wei Empire cycle, the basic political, social and economical structure of the empire has been preserved for about 2,500 years... or so the official sources of Weians say, and some of the Earth characters are somewhat skeptical of this, apparently with good cause. In any case, though the same order was preserved for at least the last few centuries, it did not exactly exist without interruptions, so it's more of a persistent cyclical thing. As for technology, it is again clearly shown to have progressed from bronze weapons made 2,000 years ago to advanced steel, early gunpowder and friggin' poison gas thanks to a certain mad scientist; it is also pointed out as some point that the Wei Empire, much like the Roman Empire in real history, had failed to take advantage of numerous potential technological breakthroughs that could've led to an industrial revolution because it had no need of it and because some of its past rulers were ardent technophobes. In any case, the plot of the last novel has to do with the rapid and rather ugly breakdown of this stasis in the aftermath of the contact with "men from the stars" who have recently discovered and infiltrated the empire.
  • Such a stasis is also the main theme and plot point of another Yulia Latynina novel: Inhuman, which is set in the dystopian interstellar Empire of Humans where, according to one of the characters, no technological advances were made for the last several centuries. The, uh, antagonists (both sides involved are villains by most measures), effectively an alien conspiracy masquerading as a government conspiracy, want to remedy this.
  • The Lizards in Harry Turtledove's Worldwar novels have been technologically stagnant for nearly 50,000 years, as have been the other alien species they conquered and subjugated in that time. Their leaders are quite surprised to find that, in the mere 800 years between their first reconnaissance flights over Earth in the 12th century and the arrival of their invasion fleet in 1942, the human race has gone from horseback to radar.
    • It's also stated in the books that their slow technological development is at least in part on purpose. When something new is invented or discovered, they don't release it until it's been tested, examined, refined and made 100% safe and reliable. Even then, it's introduced into their society over the course of decades or centuries, so they can study its impact on society. They consider humans insanely reckless for "field testing" their inventions. This is possible because their planet is far more geographically interconnected than others, thus one empire was able to conquer it thousands of years ago, retaining control ever since. They fear technological change which might threaten their power, so it's tightly controlled. It's not dissimilar to how technology was restricted in the Chinese Empire, which is the source of many different inventions, and with the same reasons. That is one theory why China then stagnated technologically behind the West too.
    • In the final book, one hundred years later the Lizards are only just beginning to consider what the difference in advancement might mean to their future when the first earth FTL ship arrives in orbit of their Homeworld. The Lizards didn't think FTL was possible and haven't thought about it, or even considered it, in their 50,000 year history.
  • An important plot point in Dan Simmons Hyperion Cantos is the fact that the Hegemony of Man is culturally and technologically stagnant, albeit with AI-given toys, while the Ouster "barbarians" have continued to progress.
  • Justified in David Weber's novel Safehold. The last human colony has been in Medieval Stasis for eight hundred years, thanks to a religion designed to prevent the re-emergence of technology (not to mention an orbital kinetic weapons platform programmed to smack any location with evidence of advanced tech like electrical power), so that the colony isn't found and destroyed by aliens. However, cracks have begun to emerge — water power and gunpowder have been invented. Note that eight hundred years is a period of time not far out of line with how long the real medieval period lasted, and the goal of the protagonist is explicitly to break the Medieval Stasis and restore the advanced technology.
    • Interestingly, the enemies who drove mankind to this point — the Gbaba — appear to be stuck in an even more extreme (if far more advanced) version of this. During the original war, captured Gbaba ships as much as NINE THOUSAND years old were functionally identical to brand-new ones. Exactly how they managed to reach their current level of technology and then stop dead is still unknown... but the entire Safehold-plan hinges on it REMAINING so — mankind can afford to spend centuries hiding in a pastoral society, then reclaim their technological heritage and try to develop beyond their original level (which gave them near-parity with Gbaba tech) until they reach a point where they can overcome the Gbaba's vast advantage in strength of numbers... all while the Gbaba remain static.
  • A similar situation is set up in Weber's Heirs of Empire. The novels set in the Safehold setting seem to be an attempt by Weber to revisit his basic plot concept in Heirs of Empire in more depth. There are differences between the two settings, but in the broad sense the similarities are striking.
    • The Achultuuni in that series have stasis enforced on them by the AI that controls their species: in order to maintain a constant threat which justifies it having control, the AI prevents the species from advancing technologically to that the aliens it encounter will inflict significant casualties before being defeated. The AI only introduces new tech if required to ensure the achultuuni will win, but prevents any extrapolations from that technology.
  • The Bahzell series, being a Fantasy Series, actually strives to avoid this at all costs. The Author has said as much as he's tired of fantasy novels being written as Luddite sounding. The original Empire of Ottovar was rather Magitek in nature, instead of their being a grand total of one wizard and barely enough mages to be worth anything, there were entire orders of Wizards, with most people of noble blood being noble because they were wizards (the king and queen founding the Empire being the two greatest wizards of all time). The Magitek was very advanced, but the Empire was limit to only the continent of Kontovar due to the Dragons forbidding Wizards from colonizing Norfressa after the original Wizard War. There was evidence of gradual advancement, as the Warlocks and Witches became the elves, and much research was done (including Time Travel!). The Dwarves are at the cusp of the industrial revolution with Bessemer ovens and shock absorbers but still no steam engines. Until recently they were trying to recreate what they knew was possible but without the help of Wizards (before large scale steel production required the help of a Wizard to do it).
  • In Larry Niven's Kzinti histories. The Kzin aren't terribly intelligent to begin with, and gained the great majority of their technology by rising up against their Jotok masters and offing most of them, and in a universe without FTL technology, it takes a long time for things to propagate over several hundred light-years of empire. Imperial standardization as well as simple physics kept the Kzin at a very, very, painfully minuscule level of advancement. The Kzin even have a priestlike caste called the Conservers Of The Ancient Past, whose job is to prevent unneeded change. Though after the first couple wars with humanity they become much more motivated to advance, even acquiring hyperdrive shortly after Earth does.
  • Justified, then averted in Ian Irvine's The Three Worlds Cycle series: in the first series just about every culture is enormously traditionalist, and magicians are highly secretive. By the second, a mere few hundred years later, one magician decided to start a proper school and the military is now equipped with Dungeon Punk Humongous Mecha, thanks to a cataclysmic war with a race of extradimensional ubermensch. Irvine (a scientist) has described the books as Darwinist fantasy, and appropriately the main theme of the series is punctuated equilibrium.
  • In The Darksword Trilogy, the use of magic has caused society to stagnate. The idea of The Magocracy essentially suffocating itself by suppressing all non-magical innovation is an important motif throughout the series.
    • They did develop mathematics considerably due to its use, though to a lesser extent than in the outside world (ours). In the third book we finally have enough backstory to realize that the populace is mostly descended from refugees from Dark Age witch hunts, who equated education with priests inciting violence against them, and subtext implies their "Death Mages" (engineers) stayed behind to help start the Renaissance and start changing attitudes toward magic to prepare for a future reunion. Anybody wanting to organize and control the relocated people for their survival practically had "Technology Is Evil" dropped into their laps as a tool... and so the project to keep magic in the human gene pool started going horribly right.
  • Thoroughly averted in Sarah Ash's Artamon's Tears trilogy. The borders of the nations of Rossiya have changed often over the past millennium. Old artwork and stories in-character portray people using swords and bows where they currently use muskets. Some areas are more technologically advanced than others (the Renaissanceesque Tielen, Francia, and Muscobar are quite different from the medieval Azkhendir, barbaric Khitari, and the unnamed tropical islands of palm-branch clothing and tikis). Even during the less-than-a-decade in which the actual plot takes place, Rossiya experiences significant changes in technology.
  • In The Arm of the Stone, 'Hand Power' is harshly suppressed and even minor innovations are punished severely.
  • Somewhat subtle in Orson Scott Card's Ender books. Ender's Game is set 20 Minutes into the Future, and the next book, which takes place 3,000 years later, is also 20 Minutes into the Future, more or less. Not only have technology, politics and linguistics seen few apparent changes, but also social, cultural, and religious attitudes, which can seem rather incongruous, given the amount of change in all those fields during a comparable span of Earth history. It's somewhat implied to be a result of relativistic time resulting from frequent space travel.
  • A recurring element in the works of Brandon Sanderson:
    • In the Mistborn trilogy, the Final Empire has writhed and bled in the iron grip of the Lord Ruler for a thousand years... and he has no interest in letting the world change. The Skaa are worked hard, uneducated, and have no real opportunity for technological innovations, while the nobility are so closely monitored by the Lord Ruler's Obligators that any new invention would need to be approved by them. One of the only advancements made in a thousand years was the recent invention of canned goods, which the Lord Ruler personally considered useful. Somebody apparently invented gunpowder within the few decades of the story, but the Lord Ruler suppressed the knowledge since it would have been potentially dangerous to his armies. The Lord Ruler's plan was to wait until the power of the Well of Ascension returned after a thousand years, and thus his primary interest was in creating a system that would let him remain in power that long; stasis was precisely his goal.
    • The follow-up series, Wax and Wayne, plays with this trope. It is set a few hundred years later, and technology has progressed to an early 1900's Diesel Punk level. There are guns, electric lights, universities, and trains. However in the second novel Harmony notes that, due to his making the land so fertile and comfortable for humans, society actually hasn't progressed as much as it should. He specifically notes that they should have developed radio a century ago and, more worryingly, neglected to develop advanced irrigation and farming techniques due to the Elendel Basin being so fertile. The latter point is starting to become a problem for everyone outside the Basin.
    • In The Stormlight Archive, fabrial development on the planet Roshar is constant and its potential is just starting to be explored, even though civilization in general was at a similar level of development thousands of years ago. The reason why things are so medieval is explained by the Desolations, which are generally so terribly destructive that by the time they're over civilization will have completely collapsed, to the point that when the Heralds show up to fight off the next one, they don't know if this particular round of civilizations will be able to forge bronze yet. In fact, the unusually long gap between Desolations at the start of the series means that they've advanced more than usual. The third book, Oathbringer, reveals that each Desolation was the result of a form of Loophole Abuse surrounding the Heralds, who swore to fight the god of hate, Odium, on his homeworld for eternity, and as long as they held true to their oaths then he would be sealed away. Odium instead captured them and tortured them until at least one of them broke and forsook the oath, allowing Odium to invade Roshar. The Heralds would be allowed to travel to Roshar and fight Odium's armies, and once Odium was defeated or the Heralds died, they would return to continue the cycle. However, as time passed, it became easier to break each Herald, until finally multiple Desolations were happening per year. The only way they could determine how to stop the process was to allow the only Herald who never broke to be taken back while the others abandoned their oaths completely, and that Herald resisted alone for four and a half thousand years before he finally broke under Odium's torture, giving Roshar enough time to develop a highly-advanced civilization.
    • Elantris justified the Medieval Stasis with Elantrians ability to provide nearly everything with the lack of need for actual technology.
  • Anne McCaffrey's Dragonriders of Pern novels feature Medieval Stasis for two-and-a-half thousand years, although justified in the stories for four reasons.
    • First, colonists from Earth were deliberately looking for a planet to settle on that would allow them to live an idyllic, non-industrial lifestyle. "PERN" is revealed to be an acronym for "Parallel Earth, Resources Negligible", so there are no natural resources to advance technologically if they so desired.
    • Secondly, every 200 years the alien organism "Thread" falls from the sky for 50 years at a time, consuming all organic matter in its path. This forces the human settlers to genetically engineer the titular Dragons from a small native species resembling mythical dragons, using up the last of their resources to create a renewable biological air force to destroy Thread before it hits the ground, destroying all crops. Humans also abandon the verdant and geologically active Southern Continent of the planet to the Northern Continent, which is far more rocky and mountainous, allowing for resettlement in caves and extinct volcanic craters to protect people from Thread, which cannot bore through rock. This ultimately led to the system of Weyrs (military bases for Dragonriders), Holds (civilian towns controlled by feudal lords), and Crafthalls (highly stratified universities for technical skills ranging from farming to medicine to the arts).
    • Third, as revealed in the short story "Rescue Run", a battle cruiser from the Federated Sentient Planets discovers a distress beacon set off by an early settler on the then-abandoned Southern Continent. They send down a rescue party to save original settler Stev Kimmer and the Fusaiyuki family who never got the notice to move to the Northern Continent. Kimmer manages to trick the leader of the rescue mission that he and the Fusaiyukis are the only ones left on Pern after the fall of Thread which had just ended a few years prior. This, combined with the rescue team's inability to detect any signs of life on the Northern Continent (due to the complete lack of higher technology after the 50 years of Threadfall), leads the team to mark Pern off-limits to future excursions, particularly to avoid spreading Thread to the rest of the galaxy. By the time of the events of the book Red Star Rising/Dragonseye, the original settlers are finally starting to run out of paper.
    • Finally, a series of epidemic plagues affect Pernese society on multiple occasions, including an influenza pandemic a thousand years before the chronologically later books in the series. This shatters what remained of humanity's future gender equality, sending women back to being baby factories to repopulate the planet. It's not until the "modern" books that women start to regain some form of equality, such as Menolly being allowed to become a Harper.
    • This stasis is finally broken in the "modern" events of Pern (over 2500 years after the original settlement) when the heroes discover the original landing site, the still-working solar panels which power it, and the Benevolent A.I. AIVAS who helps these descendants of the original settlers destroy Thread once and for all by changing the orbit of the rogue planet the Pernese had dubbed the Red Star, preventing it from passing through the Oort cloud that is the origin of the Thread organisms. This led to a massive Technology Uplift when the revived AIVAS reintroduces what is essentially thousands of years of technological and scientific advancement that the Pernese had lost after the original settlements were abandoned, improving the states of medicine, the arts, and engineering that had been retained, as well as reintroducing printing, plastics, computers, and the knowledge that the original settlers brought genetically engineered, psychic, sapient dolphins with them to Pern.
  • Gene Wolfe:
    • The Book of the New Sun tetrology of novels take place a looong way in the future (the techno-fantasy "post-historical" era where Stone-Age Man, the Modern Era, and the Galaxy-Spanning Imperial Era are all lumped together as the "Age of Myth"). The world is roughly at medieval levels (even though fragments of other tech levels are scattered about) and has been for perhaps a million years. It is implied in the books that this was done deliberately — time travel had become a common technology at one point, so accurate record-keeping was abolished and cultural stasis enforced to prevent time-travelers from targeting historically-important points.

      The average person is at medieval levels because the Urth has used up all its resources (Word of God says this is the future where "mankind stays home and waits for the money to run out"). The government is too poor to educate the population so they have lost most of their scientific culture, although they scrupulously talk about the world rotating away from the sun (rather than "the sun setting" as we would say.) As for the Anachronism Stew elements, that is partly a Scavenger World effect, partly due to genetically-engineered species surviving in the wild (their war "horses" are fast enough to charge lasers) and partly the fact that the ruling class can trade with other planets and get things like anti-gravity and life-extension.
    • The Book of the Long Sun has this going on too. After a sizable population left Urth on a generation star ship thousands upon thousands of years back, their society has reverted to city states that worship computer programs that emulate once-living aristocrats.
  • Tales of the Five Hundred Kingdoms seems to be in a stasis of sorts — but it's heavily implied that this is due to The Tradition, which really likes things to stay the same. Sometimes, this can be a problem, since The Tradition also likes to fit things into tidy little stories... and it doesn't especially care if the story has a happy ending or not.
  • Subverted in Dark Lord of Derkholm by Diana Wynne Jones — the world just pretends to be constantly medieval so as to live up to expectations.
  • In Roger Zelazny's Lord of Light, interplanetary colonists, who use advanced technology to create personas as members of the Hindu pantheon, purposely keep the planet's indigenous population in low-tech stasis so that they will not be able to rise up and overthrow their "gods". The printing press, for instance, was repeatedly independently discovered, and despite their best efforts the "gods" had to resort to using nuclear weapons against regions where forbidden technologies had become entrenched. The moment the gods lifted up their collective thumb (during a "war in heaven") people immediately began to improve their lives with innovations like indoor plumbing. And the priesthood didn't even try to stop the one-armed bandits, but coopted them as 'pray-o-mats'.
  • The Wizarding World in Harry Potter generally avoids this, as magical techniques are shown to be constantly developing new aspects, though many cultural elements (architecture and fashion, for example) are held over from previous periods, mainly the high Middle Ages, the Victorian era, and the 1930s-1940s. The latter part possibly justified by wizards living much longer than normal humans, and being fairly isolated from outside trends.
    • It's also noted that magic and technology don't mix very well, and Muggle electronics are completely useless at places like Hogwarts, where magic is constantly active.
    • This is averted in the movies, when the Hogwarts uniform was changed to be reminiscent of boarding school uniforms and the Yule Ball "dress robes" were basically regular tuxedos and dresses.
    • The cultural stagnation appears to be a deliberate choice, since magical equivalents to technological conveniences are shown to exist but be little used. For instance, they still use normal quills even though we've seen a few times that magic quills that take dictation are widely available (Reeta Skeeter even had hers distort the account of the interview in real time).
    • It's still played straight in some ways, though; in centuries nobody has been able to make an invisibility cloak as effective or a wand as powerful as the Deathly Hallows, even though we're told both fields have advanced considerably in general. Although in-universe the idea they were made by (unusually clever) wizard craftsmen at all is something of a minority opinion.
  • Averted pretty thoroughly in one Michael Stackpole book, Once A Hero. For the first half of the book, the protagonist heroes around with his elf companion in your basic medieval fantasy setting, fighting with his broadsword. At one point he forces a feuding pair of clans to make peace. Then he ends up magically Human Popsicled and wakes up four hundred years later to find that his elf companion had a daughter and got old, the clans, under altered names, are feuding again, all these things have different names and roads are different, and people fight using rapiers and newfangled weapons called "flashdrakes", which are basically primitive guns.
  • Partially averted in the Dragonlance books; technology has not changed all that much but there have been profound cultural and political shifts over the millenia: the collapse of the Ergothian Empire, the splintering of the Elves into three different kingdoms, the rise of Solamnia and Istar and the destruction of the latter, the rise of new religions and the abandonment of the true gods (and then their return).
    • Possibly justified in that most technological advancements are developed by Gnomes, which in and of itself is a reason for other races to want to steer clear. When other people see a toaster that uses multicolored explosions and flying serrated blades in its standard operational process, most will decide they don't need their bread warmed up that badly.
  • This is a common complaint/question about The Chronicles of Narnia. Without even worrying about, say, the decades between The Voyage of the Dawn Treader and The Silver Chair — a thousand years pass between The Lion, the Witch and the Wardrobe and Prince Caspian, and seven generations between The Silver Chair and The Last Battle. Technological achievement consists of one channel dug at Cair Paravel and one bridge built at Beruna. C.S. Lewis was very fond of Good Old Ways: development is actively opposed by the protagonists and anyone who tries it gets put down in a hurry. Caspian actually says as much in Dawn Treader — the issue is slavery, but they're talking in general terms. Even the author/narrator, when he's writing about our world, is always dropping in things like how sweets used to be cheaper and kids don't know to swear on the Bible anymore, and Eustace's liberal, modern upbringing is described basically as code to show that he's going to be an unsympathetic jerk. There are also a couple of technological anachronisms in Narnia, like Mrs. Beaver's sewing machine, to combine the medieval and twentieth-century nostalgia. Sewing machines good, Plumptree's Vitaminized Nerve Food bad.
    • On a metatextual level, it makes sense, given that C. S. Lewis and his literary friends (such as J. R. R. Tolkien) among The Inklings were greatly concerned about the effects of industrialization and the loss of the English countryside. This was apparently a theme in the Lord of the Rings, so the fact that it's the secondary theme of Narnia isn't that surprising. Still, it is kind of jarring when you realize that Narnia starts out medieval straight off the bat and remains utterly unchanged until the world ends a few thousand years later.
    • The origin of King Frank and Queen Helen makes this even more problematic. In The Magician's Nephew, they were plucked from Victorian London — specifically when "Mr. Sherlock Holmes was still living in Baker Street" — and became the first in a centuries-long line of royal humanity, and yet they created a medieval society, not a Victorian one. (Although the Victorians were really into Arthurian legend and medievalism in general, so it's not too implausible.) This is probably the result of neither of them being scientists or engineers, and Narnia's first real technology being made by dwarves apparently by instinct alone. (They forge crowns shortly after they're created as fully formed adults by Aslan.) A reliance on creating technology from an unchanging template could explain Narnia's stasis, but not so much places like Calormen, which has little in common culturally with Narnia, along with a desire for conquest that would provide a much stronger impetus for technological development.
  • The Chronicles of Prydain series is another fantasy setting in a medieval vein like the Lord of the Rings and Narnia. It's strongly implied at the end of the last book that the Big Bad steals any technological advancements from humanity and squirrels it away to keep them in this Medieval Stasis. He's defeated, and The Magic Goes Away, clearing the way for humanity to develop naturally, presumably towards modern technology.
  • Redwall's world doesn't seem to have evolved at all in twenty books covering several hundred years. Maybe it's because they're all too busy dealing with the rapidly-breeding vermin threat to have time to invent much.
    • The map has evolved, the Abbey seems to have expanded over time as new additions are built, and the animals have become more anthropomorphized (in series order, not chronological order). But the in-world technology hasn't budged.
    • Short lifespans may also be a factor, as most Dibbuns only have about half a year to grow up and become productive members of woodlander society. Not much time for basic education under those circumstances, let alone trying out new ideas.
  • Christopher Stasheff's Warlock of Gramarye series, while largely set in a spacefaring civilization, has one installment where the protagonists find themselves in an alternate Earth with much stronger magic than in the main series... and which is, surprise surprise, stuck in medieval stasis. One of the characters hypothesises that this is because the presence of magic has reduced the incentive towards technological development, but since magic can only be wielded by its practitioneers (as opposed to technology, which can be used by anyone once invented), the reliance on magic kept society in a feudal-style Magocracy.
  • Justified in Poortvliet and Huygen's Gnomes books, in which gnomes have maintained a steady level of technology (metalsmithing, balloons, water and wind power) for many thousands of years, being only recently surpassed by humans. Being a Friend to All Living Things, no gnome would even consider using any form of technology that creates pollution or otherwise endangers the wilderness.
  • The worlds of K. J. Parker feature Medieval Stasis. In The Fencer Trilogy, a metaphysical force known as the Principle has the world in its grip, forcing history into circular patterns. The Scavenger Trilogy has traces of identical civilizations from thousands of years ago. This world is the plaything of a god of death, periodically crushing progress. The Engineer features a pivotal scene where a man trying to introduce cannon into the world is blown up by his creation: it isn't explicit but the sense is no good comes to those trying to break the stasis.
  • Gor is technologically stagnant because people who push the envelope too far tend to suddenly burst into flame. However, they somehow managed to invent light bulbs and cure aging. This is also philosophically convenient for Norman as it lets him justify why men on Gor are... uh, better.
    • Gor is controlled by the non-human "Priest Kings". They allow advances in some areas (medicine, lighting, etc), but not in others (weapons, vehicles, etc), because they fear that if men advance in these areas they might challenge the Priest Kings' power. They enforce this by using a weapon that causes a person experimenting in forbidden knowledge to burst into flame.
    • The patchwork technology was most obvious in the first few books, which were intentional imitations of Edgar Rice Burroughs' Mars stories, and feature conveniences like thermostatic sleeping bags which were quickly forgotten when he took the series his own way.
  • In Codex Alera technology is static and has actually regressed from the original Roman settlers' because of the universal access to Elemental Powers. Magitek is so universal that despite the low tech levels, the quality of life is roughly equivalent to the mid-20th century, and the use of magic has been evolving. There is also an institutionalized traditionalism within Aleran society, thanks to the fact that they've spent a millennia simply fighting to survive against the Death World that is Carna, which resulted in an emphasis on following set, traditional methods. This is, ultimately, a serious problem that the Alerans have, as they have no reference point to deal with enemies using advanced engineering like the Canim, let alone a completely out of context problem like the Vord.
    • And then Bernard reinvents the catapult. Which turns into a WMD when loaded with lots of small fire orbs children can make with little effort. A WMD in a world with Races of Mass Destruction. This is when the Alerans realize their Medieval Stasis is breaking.
      • According to Word of God, this will eventually be averted. The author has stated that if he ever writes a book set in the same world again, it'll take place roughly 200 years in the future, and technology will be a kind of magical steampunk. Furypunk, he calls it.
  • Somewhat toyed with in the Sword of Truth series. In Naked Empire, the protagonists discover the Empire of Bandakar, made up of the descendants of pristinely ungifted D'Haran exiles, which was sealed behind an Underworld barrier for over three thousand years. One Bandakaran, Owen, leads them past an Imperial Order occupation force to their capital city. When he proudly presents their great financial and cultural center, all Richard and Kahlan see is a city block full of tiny shops with studio apartments built above them. Richard even asks, "This is all your great culture has achieved in 3,000 years?", while a flummoxed Owen clearly thinks that the block of two-story shacks is up there with Crystal Spires and Togas. As for the rest of the world, the trope is more played straight, as the ancient world had thousands of mages serving the people's needs and as they gradually died out, the idea of using technology to fill the niche they left behind hasn't quite caught on yet.
    • Averted in a later spinoff, which states a thousand or so years later, the world is a rather advanced Magitek civilization.
  • Discussed in Ascending of The League of Peoples Verse, where races that were "uplifted" by the League of Peoples hundreds or even thousands of years before humanity have no significant technological advantage over them. Having been handed everything they could ever need by sufficiently advanced aliens, their own industries and cultures stagnated. What's worse, the League technology was all of the Black Box variety: they didn't understand the first thing about the technology they were using, and thus couldn't make any further scientific progress. The result: a long downward slide into Creative Sterility. This is a fate that threatens humanity as well.
  • The Heralds of Valdemar series is a case of medieval stasis enabled by the use of Functional Magic to supply many of the conveniences that would otherwise be provided by technology. However, three thousand years with no scientific advancement is a bit much, and a very subtle (i.e., blink and you'll miss it) justification is provided in that the Powers That Be have been carefully orchestrating history in order to set the stage to avert the return of a World Sundering magical Cataclysm. As this imperative wanes, it can be seen in the Mage Storms trilogy that Valdemar, by far the most progressive nation from a cultural standpoint, has begun to support a cadre of artificers who are rapidly moving toward late Renaissance and even steam technology. However, nobody's figured out gunpowder or anything resembling (non-magical) explosives.

    Just Before the End, Functional Magic and Magitek were far more advanced than the main timeline of most of the stories, and society included such things as "advanced" medical colleges that denied the reality of Healing Hands and other Gifts. After the Cataclysm, societies rebuilt themselves to the medieval status we see. Over the course of several hundred years, Valdemar is founded by migrants from The Empire, grows, absorbs smaller kingdoms, and enters into a long-standing Cold War with Karse. In the Last Herald-Mage Trilogy, Valdemar loses the last of its Magitek, such as the ability to pave roads, and regresses again, only to finally begin merging the aforementioned technological advances with the return of Functional Magic, about 400 years later.
  • Justified in the novel Terminal World by Alastair Reynolds, where the world is divided into technology-limiting "Zones", one of which runs on Steam Punk in which advanced technology often doesn't work. Science is unknown, and no advancements have taken place for almost 5000 years, except for technologies adapted to specific zones. Ricasso, an important character who wishes to understand the world (he notes that they can replicate TVs, flintlock pistols, revolvers, energy-discharge weapons, and steam locomotives but they really have no idea how they work) pokes fun at this.
  • Inverted in R.A. Lafferty's "Slow Tuesday Night", in which brain-enhancements that speed up all decision-making processes have become universal. This accelerates the pace of human activity so drastically that it takes 15 minutes to make and lose a fortune, two minutes to read the hot new (for the hour) doorstopper, and half an hour (on average) to marry, honeymoon, lose interest and divorce.
  • Enforced by laws known simply as Protocol in the Incarceron series by Catherine Fisher. It's undoubtedly a Crapsaccharine World, as one character in La Résistance says about their Era that it condemns their best minds to work only on sterile reproductions of the past. It's excusable in a world where most knowledge was destroyed earlier, but enforced and anti-intellectual? Not right man.
  • In Vladimir Vasilyev's Big Kiev series, it can be initially assumed that the setting is an Alternate Universe. It is, in fact, the year 368,764, but technology remains about at the same level as it is now (it may even have regressed a little). Nations have been replaced with mega-cities (e.g. Big Kiev, Big London, Big New-York, Big Istanbul). Machines can function on their own and appear to have animal-level intelligence (possibly, ubiquitous AI). Humans live alongside fantasy creatures like elves, dwarves, orcs, goblins, and halflings. Instead of building machines (which is an inconceivable concept), the living (a new word used instead of "people"; there are no undead) tame the wild machines, teaching them to respond to the living. Technicians use formulas to operate machines, which are, basically, instructions. Even scientists are not tasked with inventing new things but with understanding how to operate the existing machines. According to one character who has access to notes dating back at least 10,000 years, nothing has changed in that time frame. The plot of The Big Kiev Technician is kicked off when the main character finds out that someone is actually building new machines, an idea that can change the world.
    • The end of the novel heavily implies that the living will now be forced to learn how to build and invent new things, as presence of "built" machines causes "living" machines to die.
  • In Mikhail Akhmanov's Envoy from the Heavens, Ivar Trevelian works for a human agency dedicated towards studying and advancing pre-space humanoid races. Ivar is sent to a planet that has been stuck in the Middle Ages for centuries with no drive for progress or discovery, mostly due to the political situation on the settled continent being remarkably stable. He infiltrates the society as a Wandering Minstrel and soon finds out that, for various reasons, this society frowns upon attempts to change the status quo with radical new ideas. For example, when Ivar suggests an idea for a saddle for horses to a soldier to ride them instead of using chariots, the soldier looks horrified at the idea of doing this to such majestic creatures. Attempts to build steam engines often result in them exploding, which the natives use to conclude that they are bad. There is a whole undiscovered continent in the other hemisphere, but the natives believe that their world is flat, surrounded by a ring of their head god. Attempting to reach this ring by boat may anger the god with consequences for everyone. Because of this, no one has ever attempted to sail this far. In the end, though, it turns out that another alien race is deliberately causing Medieval Stasis on this world, although they insist that their Alien Non-Interference Clause prevents them from doing so. Instead, they merely observe and keep humans from interfering.
    • However, Ivar does meet a local man who has always dreamed of flying and has secretly built a hot air balloon capable of carrying a good number of people. He realizes that this man, and a tribe he met earlier, can be his Columbus, instructing him to fly over the sea beyond the horizon until he sees land.
  • David Gemmell's final Drenai novel, The Swords of Night and Day, jacks an established character forward a thousand years in time in a Fish out of Temporal Water plot. Despite some political upheaval, technology has more or less remained the exact same, with some advances in monster-making techniques being the only difference.
  • Averted however in Gemmell's Rignate series. The first two books take place in times similar to the height to the Roman Empire, the next two books take place several hundred years later and combat is now based around guns and cannons with society now being similar to the 1600s.
  • The Prince Roger series has Marduk, a Death World that for the most part hovers around "early Medieval" tech. Partially justified in that the climate does make inventing — or maintaining — the more advanced tech the Imperial Marines are used to much more difficult (torrential rain two or three times a day makes it harder to keep the insides of electrical components from getting compromised, and it makes inventing a good gunpowder rather tricky — although the Mardukans have managed it. This climate has also inspired them to invent incredibly sophisticated pump systems to keep their communities from flooding). The protagonists are also reluctant to change things too much — first, because they don't want to leave any distinct traces that they're there (they are trying to be as stealthy as a several-hundred-man march can be, after all) and second because they're wary of falling into the trap of cultural superiority.
  • The world of Erna in the Coldfire Trilogy has been stuck at the same tech level for a thousand years thanks to the fae. It turns out Your Mind Makes It Real doesn't mix very well with technology: for example, worrying about a gun jamming/misfiring will make it happen, and humans can't help but worry. Furthermore, all of the advanced technology possessed by the original colonists who landed on Erna was lost when one officer sacrificed all of it, including the colony ship itself, to make the fae into Functional Magic that humans could safely use.
  • The Wheel of Time plays this both ways. The level of technology has remained roughly the same since the Breaking of the World destroyed the Magitek culture of the Age of Legends three thousand years ago, but the nations and their borders definitively haven't. On the other hand, these changes usually don't affect day-to-day life all that much: at one point a character is reading about a foreign country in a fifty-year-old book, and notes that "little of any consequence would have changed in so short a time". On the other other hand, the last books of the series have introduced both steam engines and gunpowder used as a weapon.
    • Its also an example of an Enforced Trope — 3,000 years prior to the story the world was a Magiteknical paradise with all kinds of magical and scientific wonders; the War of Power and the Breaking of the World, and the consequent massive upheavals brought all that crashing down and turned the planet into a Death World. The "Enforced" part comes in the following thousand and two thousand years oe of the major villains, Ishamael, engineered both the Trolloc Wars and the collapse of Artur Hawkings massive continental empire. The villains wanted Medieval Stasis to make the world an easier place to conquer.
  • Isaac Asimov's Foundation trilogy makes heavy use of Medieval Stasis on the titular colony's enemies. In its early stages, the Foundation is only able to survive because its neighbors have first regressed and then fallen into an (albeit futuristic) Medieval Stasis where they have forgotten most physical science (most prominently, nuclear power). The Foundation's preservation of such knowledge (via a veneer of mysticism) is what initially propels it to superpower status. Naturally, this was all planned out by Hari Seldon who manipulated events to get the Foundation to be set up on a world poor in natural resources, requiring interactions with neighbors and constant innovation in order to maximize the use of available resources. Thus, when the Foundation encounters The Remnant of The Empire, the imperials can't imagine that a nuclear reactor can be anything smaller than a huge building, while the Foundation agents carry portable reactors in their pockets.
  • Zigzagged in the Destroyermen series' backstory. Prior to USS Walker's arrival in the books' Alternate History in 1942, the last time the Lemurians advanced much technologically was by moving their entire race onto giant seagoing "Homes" centuries ago in order to escape the series' Big Bad, the reptilian Grik, by crossing the Indian Ocean to the islands of southeast Asia. The stasis returned partly because there was no driving force for innovation (why mess with what works), and partly because of a trade secret-hoarding guild system that developed in some Lemurian cultures. It takes the Grik finding them, coupled with an influx of World War II-era technology from human ships, to knock them out of the rut once and for all.
    • The Grik in turn are technological locusts. While they're very good at reverse-engineering and replicating, innovation is largely beyond them; the last time they advanced was by disassembling and replicating a British East Indiaman that crossed into the Alternate History sometime in the 1700s. This enabled them to expand their territory from Africa across the Indian Ocean and find the Lemurians again.
      • The Lemurians do, however, note that the Grik ships keep getting bigger and bigger. Possibly, the Grik were still trying to successfully replicate an East Indiaman (minus the guns, which are beyond their understanding).
    • Averted with the two known human cultures apart from the destroyermen. The Empire of New Britain and Holy Dominion started with Wooden Ships and Iron Men and have improved to roughly the 1860s (ships powered by sail and coal-fired steam engines).
  • Averted in the Circle of Magic series, albeit mostly in quiet ways. An equivalent of gunpowder has just been developed, greenhouses (and necessarily the means to make largish transparent panes with relative ease) are a new thing, a mage just created a machine that transforms wind magic into lightning magic, and ten or twenty years before the first quartet, a team of mages developed incredibly detailed scientific methods to study and cure diseases, involving taking fluid samples from infected patients and distilling those to the "essence" of the sickness.
    • Also averted in her 'Tortall' books, said aversion being especially visible now that she has written a series set outside the timeline of the rest of the Tortall books. The most visible changes are social ones: for example in Beka's time there is greater gender equality although more misogynistic views are starting to take over. By the later-set Alanna books, a woman's place in considered to be the home. The events of her books continue to affect society through the later-still Daine and Kel books. And so on. Technologically too we see some developments (particularly in the area of magical technology).
  • Averted in Joanne Bertin's The Last Dragonlord, though technological progress is very slow and culture is even more sluggish. The first Dragonlords, were-dragons born as humans, came into being when humans were tribal nomads. By the time the books are set in, it's a medieval equivalent. The youngest Dragonlord, a mere six hundred and keeping the same appearance he grew up with, is recognized by humans as a Yerrin noble of the Snow Cat clan by a look at how his hair is braided — six centuries and that didn't change at all. He's surprised and pleased by the invention of wind chimes, and states to an older Dragonlord that it's weird seeing glass windows everywhere; when he grew up it was a rare thing. His elder agrees, saying he never saw glass except for beads until long after he first Changed. In the next book two Dragonlords in a port city are dismayed to find that it's completely changed in the centuries since they'd been there, and they have no idea where anything is.
  • In Jack McDevitt's Priscilla Hutchins series, the Noks — the first living alien race discovered by humanity — appears to be permanently stuck at a medieval level of development. They've been that way for an estimated 14,000 years, and show no signs of developing further. They're also extremely hostile and xenophobic, so it's probably just as well.
  • In David Brin's Uplift series most species of the galaxies get all their technology from the Library and their Patrons. Because the Library provides everything there is no incentive to develop new technologies. Earthclan sees the Library as a sociological trap and try to use as much of their own "less advanced" tech as possible. In Sundiver the refrigeration laser on their solar exploratory craft saves them when the Library-provided shields are sabotaged.
    • Averted massively in later books, when it turns out that by refusing to accept Calculus because it is not in the library, everyone but the humans are caught by surprise when an entire galaxy moves so far away (due to galactic expansion) that the hyperspacial links with the other four inhabited galaxies are broken. Some of the older races were clearly hiding this intentionally, as they arrange to use the event to catapult a long distance ship on a journey to another luster of galaxies that were lost in this way previously.
  • In The Lost Regiment, the 35th Maine gets transported by a Tunnel of Light after the Battle of Gettysburg and finds itself on an alien world along with other humans, who have gotten there the same way in different time periods. The first people they meet are the Medieval Russians who appears to have crossed over around the 10th century. In the 900 years since then, their society hasn't advanced in any area. They later find out that the same is true for the other human societies who have been transplanted to this world, including even older cultures like Carthage and Rome. They quickly find out why this is the case. This world is ruled by hordes of 10-foot-tall hairy Human Aliens who constantly circumnavigate their world on horseback and collect tribute from their human subjects in the form of people to eat. They maintain the status quo among the humans and crush any attempts to break it, including inventing new things. Averted in later books.
  • Enforced in Ring World. The eponymous structure consists of a (relatively) thin layer of soil on top of a ribbon of super-hard, unworkable Phlebotinum. After civilization collapses and high technology is lost, it can never be rebuilt because of the lack of workable metal.
  • Averted in the Clandestine Daze series. The fairy-like Aels are as advanced as humanity. They have their own spy networks, technology, and modernized countries.
  • Played with in John Brunner's novella Father of Lies. Amateur paranormal researchers in the 1960s find an anomalous spot in Britain that doesn't seem to have changed since the Middle Ages. In reality, a Reality Warper mutant child forced this on an 1840s community, basing their new society on garbled Arthurian legend, the cultural stasis has only existed since then due to him enforcing it.
  • Partly played straight in Sergey Lukyanenko's Seekers of the Sky duology. In this world, the absence of easily-accessible iron has dramatically affected scientific progress. While the events are contemporary to us (taking place roughly 2000 years after what we would call the Birth of Christ), most armies of the world still fight with Bronze Age weapons. Only nobility is able to afford iron and steel weapons and even firearms. In fact, they have invented Gatling guns, but those are few and far in between and incredibly expensive due to the deficit of iron. The entire world's economy runs on the iron standard with gold being seen as little more than a shiny metal for trinkets (when someone points out the possibility of switching to a gold standard, he's laughed at for suggesting the use of an impractical currency). Wooden Ships and Iron Men is still in effect. Flying is only done using wood-and-canvas gliders that use single-use rocket boosters to lift off and require the flyers to memorize wind charts. There have been plenty of wars and border redrawing, however. The State (an empire that encompasses most of Europe and has colonies in Africa and the Americas and appears to be a descendant of the Roman Empire) has frequent clashes with the Russian Knahate (a mix of Russia and Mongolia) with the Chinese Empire and the Ottoman Empire remaining neutral. The State's American colonies also frequently clash with the Aztecs. Electricity is a recently-made discovery, and electrical starters are replacing the less reliable chemical ones for use in gliders. However, at the end of the duology, the stasis is broken by the new Messiah returning all the iron that has been stolen from the world 2000 years ago, likely restarting progress.
  • In Turtledove's "The Road Not Taken", the secret to antigravity (and a related effect, faster-than-light travel) is really easy for a species to stumble across and use, even with Stone Age technology. The only problem is that antigravity has no relationship to other fundamental forces, so it doesn't help you to understand any other science or require understanding of other forces, like electricity, and with practical antigravity there's no driving need to develop more advanced technologies. As a result once a species discovers antigravity its other technological development stalls out at whatever it was at when the secret was discovered and stays there until they stumble across another species that advanced slightly further before discovering it themselves. The most advanced empire in the galaxy was at the level or primitive muskets, mass linear battlefield tactics and basic gunpowder bombs when they find it, and they crush their opposition as they conquer planet after planet. And then they invade Earth, which has gone into the middle of the 21st Century having not discovered the secret yet. The invasion...doesn't go well. The invaders are horrified to realize they've just handed the keys to the galaxy to a species who are unimaginably more advanced.
  • Taken to unimaginable extremes in Across A Billion Years where the first known sentient race known to have existed a billion years prior when the last repository of them is found by an archaeological team made up of members of the recent spacefaring species remained technologically stagnant across that entire billion year span, although it's possible due to how advanced they were (a fully functional sentient robot left in an asteroid storage base was still functional a billion years later along with all of its equipment) that they'd reached the limits of technological advancement. They also suffered some very rigid ideas regarding perfection and when they considered something perfect they stopped trying to improve it (although logically anything you can improve is not by definition perfect).

    Live-Action TV 
  • A very low-key and unnoticeable at first glance version is present on the decidedly-Space Western border planets of Firefly, which background material describes as intentional on the part of the Core planets to keep them backward and controlled. There's even intentional technological stasis where the villain of the episode has the money to build a real city, but keeps it at a wild-west level so he can 'play cowboy' and be the one with the best toys.
  • Game of Thrones: Westerosi technology has not improved significantly over at least the last thousand years. In fact, ancient marvels of engineering such as the Wall are implied to be built on Lost Technology, and no one has been able to figure out how to make more Valyrian steel (though experts can rework it).
    • Although, as ''Slate'' notes, Westerosi medicine seems to have in some ways advanced beyond the medieval level: moon tea is an effective abortifacient as any currently available, the characters understand that wounds can get infectednote  and how they can prevent that, and they also seem to have figured out how to treat and prevent scurvy ... both of which Western medicine hadn't learned until the late 19th century.
  • Stargate SG-1:
    • The Goa'uld are shown in ancient Egypt sequences as using the same technology as they do in the regular episodes. In the time that humans went from simple bows to nuclear missiles, the Goa'uld haven't added trigger guards to their guns. This is justified by Goa'uld culture being antithetical to good scientific practice (although Goa'uld scientists like Nirrti and Nerus do exist), and all their technology being stolen anyway, but to be this extreme, they need to be quite the Planet of Hats. It's shown a few times that some isolated worlds, free from Goa'uld control, had actually advanced further technologically than humans on Earth. Notably the Tollan (humans transplanted from Earth with whatever level of technology they had at the time), had developed some technology which was more advanced than the Goa'uld.
    • The advanced human race Aschen reduce the fertility of less advanced races under the pretence of bringing medical technology. The Aschen then create farmworlds on top of other races' civilization, keeping the descendants of the original inhabitants as uneducated farmhands.
  • Stargate Atlantis:
    • The Wraith systematically destroy any society advanced enough to pose a threat to them, meaning the most likely type of society will be of medieval level, or lower.This has the disadvantage of lower cullings in each planet each time they revisist since a lower technology level means higher child mortality as well as lower populations as people dont live long enough and the population doesnt reach to high.The Wraith Queen in the pilot is even suprised that Earths population is in "the billions". Subverting this is the Genii, who pretend to be at an agrarian level of development, but it's all just a ruse to keep the Wraith away from their secret underground facilities, which are about… somewhere between the 1940s and the 1960s.
    • An interesting variation occurs with the Asuran Replicators, who emulate the Ancients that created them by purposely keeping their technology at the same level as the Ancients, despite over 10,000 years passing in the meantime.
  • In the Australian-Polish series Spellbinder the Spellbinders have remnants of advanced technology in the forms of powersuits and walkie-talkie like stones. While they themselves have little understanding of how these things work, they non-the-less imprison any non-spellbinder who creates any new invention or innovation as they fear that technological progress will end up leading the commoners to overthrowing if they don't nip it in the bud.
  • Star Trek: The Original Series
    • In the episode "Errand of Mercy" Spock mistakenly concluded that because the Organians live with medieval technology and have absolutely no interest in help developing from The Federation or the Klingons they were subject to this trope. Subverted in that the Organians are actually advanced Energy Beings who simply have no need for technology anymore and the town was just a front so they could interact with physical beings.
    • Episodes like "Return of the Archons" and "The Apple" had this enforced on the native populations by the technology of earlier, more advanced generations.
  • Star Trek: The Next Generation:
    • In the episode "Up the Long Ladder" The Enterprise rescues a group of Space Amish who have lived as they have for 200 years, even keeping their Irish accents. In the same episode they come across the other, technological, group from the same original colonists of whom only five survived landing and they have been breeding through advanced cloning for 200 years — but evidently keeping their stasis so as not to develop space travel to go back and get more humans for their genetic pool.
    • Another episode had the Enterprise run into another lost colony of humanity, who have not advanced a lot since they landed on the planet. It was discussed and justified, as the people had been using genetics to make themselves nearly perfect, and the city that have is a sort of Utopia. They didn't have many problems or communications with the galaxy at large, they didn't have much of a reason to seek new technologies.
  • The Bajorans from Star Trek have culture going back over half a million years, but whose first space travel was roughly 800 years before The Next Generation era, and were surpassed by the Cardassians who conquered them. Their society has been directed by their (accurate) faith in the race known as the Prophets for much or all of that time, so it is probably deliberate.
    • In the Millenium trilogy of books, the character Arla Rees (a Bajoran), shares the general Starfleet belief that the Prophets are Sufficiently Advanced Aliens, and rages against them for retarding Bajor's progress. She calls the Orbs (artifacts dropped on Bajor by the Prophets) the worst thing that ever happened to Bajor.
    • "The Quickening" features an alien race that's been deliberately stuck in a pre-industrial state thanks to a disease that accelerates in the presence of EM fields.
  • Subverted in Babylon 5. At first, it might seem highly questionable that the Centauri and Minbari, who have been starfaring peoples for millennia, are not substantially more advanced than humanity, which has only been capable of interstellar travel for barely a century. Eventually, however, it was revealed that the reason for this was simply that Earth had bought all of its advanced technology from the Centauri themselves, with the latter still having withheld certain particular valuable advances (such as Artificial Gravity) in an attempt to retain some small advantage. Nor does technological development slow after the show begins, either: by the end of the series, a Lensman Arms Race has begun using the leavings of the now-departed Vorlons and Shadows.
  • Justified in Once Upon a Time, though the reason why doesn't become clear until Season 4, when the show decides to explain how The Multiverse works. Basically, aside from the Real World (referred to as "The Land Without Magic" In-Universe), all other worlds seen are "Realms of Story," whose events have been recorded by magically-empowered writers known as Authors. Some worlds include the Enchanted Forest (where a majority of the cast hails from), Wonderland, and Oz, which are typical fantasy worlds. However, the show later reveals realms such as The Land Without Color (where Doctor Frankenstein, and presumably all old horror characters, are from), Victorian London (home of Alice), and a Roaring Twenties London (the home of Cruella De Vil). The latter three are explicitly Theme Park Versions of the respective locations/time periods they correspond to, and while time flows naturally, they are stuck in the era they are based on. However, the civilians of those worlds presumably don't realize this; Cruella, when asked by the current Author what year it is in her world, is unable to give a straight answer, having never actually thought about it before.
  • Legend of the Seeker: In "Revenant", a seeker, Confessor and wizard a thousand years earlier have the same kinds of clothes, with apparently no change in the intervening time.

  • The Cool Kids Table Harry Potter-themed game Hogwarts: The New Class shows that the wizarding world is still deep in this, to the point where not even McGonagall knows what pens or phones are.

    Tabletop Games 
  • In BattleTech, a series of violent civil wars have destroyed almost all the factories for Battlemechs, and the equipment that goes into them. Battlemechs from the year 2750 are more advanced than the ones being built in 3025. ComStar is dedicated to retrieving LosTech and preserving/worshiping it. This is eventually subverted as the timeline progresses. By 3039, the Great Houses have began to rediscover and rebuild formerly lost technology in small quantities, and by the time of the FedCom Civil War (3062-3067) and Word of Blake Jihad (3068-3080), the Inner Sphere powers have rediscovered and even improved upon Star League technology, or invented entirely new equipment.
  • The Warhammer 40,000 game setting is another sci-fi example of this trope: thanks to the Imperium of Man's Cargo Cult approach to maintaining technology and its leaders' unshakable belief that the Status Quo Is God, or rather that God is Status Quo, human technology and culture have remained largely unchanged for the past ten thousand years.
    • The Adeptus Mechanicus believe humanity once held all knowledge in STCs (computer blueprints/programs for weapons and equipment), and trying to replicate that knowledge instead of looking for it is heretical. They're wrong, of course, but the faction that does experiment and invent is dedicated to Chaos...
    • According to some of the lore, certain planets have actually slid back into a quite literal Medieval stasis. This can be quite disastrous when facing down armies of Necrons, Tyranids, or anything else that might attack, considering none of the weapons these planets would have (spears, catapults, e.t.c) could even pierce the armor of their enemies.
    • This has bitten the Imperium in the ass on occasion. In one case a planetary purge and colonization was postponed indefinitely (due to a violent warp storm that enveloped the planet) abandoning the spear-wielding natives for over 6,000 years (technically 5,953 years, but who's counting?). They were more than a bit surprised when said spear-wielding natives showed up on some of their frontier colonies with railguns and plasma rifles.
    • The Eldar, as well as being quasi-immortal, have been trapped in a decadent, decaying culture since The Fall; expending their very limited resources on simply maintaining their existence in a universe where Everything Is Trying to Kill You.
    • For beings that are the incarnations of change, Chaos Daemons and Gods tend to stick to swords, claws and cavalry. Barring some pages of fluff, there's little difference between Daemon codexes for 40K and Warhammer Fantasy Battle. In fact for a god that was born from an ultra-tech alien species, a big technological advance for Slaanesh was when some Daemonettes discovered that a muscle-powered agricultural machine makes for a great weapon.
    • Ork culture is far too chaotic and violent to ever manage to develop very far, and their basic technology is innate knowledge coded in their genes. That said, they have managed to develop rough-and-ready tractor beams and mass teleporters that are much more effective (if more dangerous to the user) than any other race's equivalents quite recently in the current setting, and also invented their versions of helicopters and Humongous Mecha within recorded history. Of course, Orks aren't driven by the desire for improved life or scientific inquiry, they just want More Dakka. And most of their "technology" literally runs on enough Orks believing it works. Ork meks are driven by the need to make bigger, faster, louder, heavier, and above all deadlier machines and weapons, one of them inventing a helicopter.
    "Wot's faster than a Warbuggy, more killy than a Warbike, and flies through da air like a bird? I got no bleedin' idea, but I'm gonna find out."
    • The Necrontyr turned themselves into mindless automatons serving star sized soul-eating monsters. On the other hand, they are so far ahead of everyone else already that it hardly matters. The armies used on the tabletop are scouts and raiding parties; their full-powered war machines aren't even reactivated yet.
    • Pretty much the only races that are advancing/evolving are the Tau and Tyranids, as the Tau are highly progress-minded and the Tyranids adapt and evolve themselves and their biotech — the distinction between the two is rather blurred — on a near-constant basis. Hive Fleet Gorgon was an interesting case of Lensman Arms Race between a Tau outpost and a small Hive Fleet, both of which kept adapting their tactics and weapons to the last tactic the enemy used.
  • The fantasy counterpart setting, Warhammer, is an interesting example. In its earliest incarnation it was essentially based on Early Modern Europe (roughly the era of Luther and the reformation), with printing presses and firearms being known albeit early, experimental and sometimes dangerous. Over the years, each new edition of the setting has advanced the date and the technology level in some cases.
    • The Empire ("Germany") has developed Dwarven technology into such advances as steam tanks, as well as developing firearms technology to the extent that the handgun has become the prime Imperial ranged weapon. At the same time, with the assistance of the High Elf mage Teclis, wizards have been "unionised" into a number of colleges of magic.
      • The history of Empire and Westerland shows the progress from the barely-united barbaric tribes (think 1st-2nd century AD) to medieval feudalism, to early Rennaissance and, in case of Westerland, to the equivalent of early XVII century (Marienburgers introduced, among others limited democracy and early stockmarket). Kislev is locked in medieval stasis though (what may be justified by unnatural cataclysms and rather barren lands, also Kislev is an expy of Russia with dashes of Poland, the former known for having been somewhat behind Western and Southern Europe, and both for their general cultural isolation from the West).
      • The city of Nuln resting within the Empire is home to many of the Empire's technological innovations, such as clockwork horses, electricity, indoor plumbing, a central bridge with a steam mechanism for raising and lowering it, you name it and it's probably there. Add the fact the city is constantly choked in black smoke and smog and it's like Victorian London was just dropped into the middle of the Holy Roman Empire.
    • The other main human faction, Bretonnia ("France") was originally portrayed as on a similar technological level to the Empire but with a social situation more akin to the 18th century with powdered and bewigged nobles mincing about effetely and ignoring the plight of the massed poor. Recent editions have regressed Bretonnian technology to a high medieval level and given them a more "heroic" slant, with a culture of bold knights and doughty peasants straight out of Malory's La Morte d'Arthur. It has been implied that this is due, at least in part, to manipulation by the immortal rulers of the Asrai (Wood Elves). For game balance they apparently have blessings from their goddess to protect them from bullets.
    • The Skaven are also continuing to progress forward, with some of their more recent innovations being trains, long range communication devices, and gatling guns (many of which have puntastic names). Their technology generally sacrifices safety for results though, and is prone to exploding and other malfunctions.
    • The Dwarves are advancing in certain areas, in Gotrek & Felix, one of them built a zeppelin to take them over the Chaos Wastes. A culture at the technological level of about 1600 AD Europe built a zeppelin. The Dwarves' advancements are held back primarily by the fracturing of their old empire, their long-running vendetta against the elves, and constant Skaven and Greenskin attacks. As a result, they focus more of producing and improving their old weapons rather than inventing new ones, as well as a general old-is-good mentality. This has some resonance with real-life scientific theories — it's sometimes said that for a new theory to be accepted the older, more respected figures in the field who don't like the theory ave to die off... and Dwarves live a lot longer than humans. That younger Dwarves with new ideas tend to run off to Imperial engineering schools where their ideas meet more acceptance doesn't help.
    • Different areas of the Warhammer world are not advancing. The Elves are locked in stasis, and other human settlements like the island of Albion are still in a stage of cavorting druids and priestesses prancing naked round the maypole and where it never stops raining. For those Elves that don't go around hugging trees, this is handwaved by suggestions that the Elves have avoided an industrial revolution for "aesthetic reasons" (even Dark Elves, apparently... maybe they're allergic to smoke) but can make "intricate clockwork and torsion-powered" artillery pieces that are supposedly every bit as good as equivalent gunpowder weapons. They don't live up to the hype.
    • There's an interesting case with the Lizardmen — they're the oldest inhabitants of the Warhammer world, and apparently haven't invented the wheel yet, something even the Orcs have got around to. However, when some of them tried to colonise a new area, they were cut off from their froggy leaders and regressed to a less advanced society, with less magic and overall co-ordination. Those that tried to colonise a nearby island had no contact whatsoever, and pretty much became beasts. This seems to suggest that not only are the Lizardmen locked in Medieval Stasis, but that it's only due to the Slann that they're not going backwards.
    • From what little is known about them, the Eastern Empire of Cathay developed iron armor and gunpowder weapons before Nagash was born in the local bronze age... and then still had exactly the same technology base more than 3000 years later.
  • Pathfinder: The main setting — the Inner Sea region — has maintained more or less the same national borders, ethnic groups, languages and culture in the four millennia and seven centuries since the beginning of the in-setting calendar. The god Cayden Cailean, who ascended a solid two millennia before the setting's present, is still a near-perfect embodiment of modern adventurers and pub regulars. The kingdom of Taldor, which has existed as a unified nation for five millennia and counting, maintains the same government structure and internal divisions that it did when it was founded. For reference, five millennia is roughly the time that passed between the founding of the Indus Valley civilization, the first city-building culture known to have existed, and the modern day.
    • One notable exception is Alkenstar, a duchy where magic does not work anymore. They have rifled guns, experimental revolvers, and a gun factory. Taldor also uses cannons for artillery, and most of the nations seem to be at a more Renaissance level. Most countries have printing presses. However, most tech is expensive as hell.
    • To some degree this trope is justified by the setting's history; it seems every few thousand years some sort of catastrophe causes empires to crumble and progress to revert to more primitive times. The big one was Earthfall, when the Starstone fell from the sky causing massive cataclysms and destroying the mighty empires of Azlant and Thassilon. A more minor one happened just a hundred years before the setting opens; Aroden, the god of humanity, was supposed to return and usher in a golden age. Instead he died (somehow), and this causes a massive rift to the Abyss called the Worldwound to open, an endless hurricane several hundred miles wide to form, and weeks of storms and earthquakes.
  • Dungeons & Dragons: Practically each and every game world falls under this to some degree or another.
    • Perhaps with the exceptions of the bizarre Planescape setting and Wizards of the Coast's latest world setting, Eberron, which features a Pulp Adventure setting influenced by Indiana Jones movies, mixed with Dungeon Punk, in a faux-19th century world heavily influenced by Sufficiently Analyzed Magic and Magitek.
    • The Forgotten Realms setting generally falls under this, with a few exceptions. Countries come and go, several fallen kingdoms/empires may have been built on the same spot, and politics has dramatically changed. To the extent there's enough ancient-to-modern history to have a splatbook (Lost Empires of Faerun) devoted to it. And while swords-and-bow technology hasn't changed all that much, humans have advanced out of the Bronze Age and into the Iron Age, new spells and fighting styles are constantly being developed, and one church (Gond) has the invention and development of technology as one of its primary goals, thus leading to things like the printing press and the alchemy equivalent of gunpowder.
      • The gnomes tend to avert this. Heck, the only reason that gnomish inventions aren't more widespread (and more willingly accepted) is that the gods are ''deliberately'' meddling to keep things in stasis. The only reason the gnomes have accomplished as much as they have is that they are very innovative: every single thing that the gods warp to try to discourage them from playing around with technology is repurposed to do something that fits with the warping.
      • Netheril, one of the lost empires, had medieval technology over a thousand years before the 'present'. This was justified by the Netherese reliance on magic, which was both more readily available, and more powerful than it is now. Also wizards really did run this empire.
      • The lack of technological progress and continuous state of warfare are justified within the setting by the legend of the Sea of Fallen Stars' creation, which supposes that the gods made it so that the peoples of the world would never become too curious or cooperate too much, as punishment for the titans' hubris.
    • Justified in the Hollow World, where the Spell of Preservation acts to inhibit cultural and technological change, thus maintaining what amounts to a planet-sized anthropological museum. Elsewhere in Mystara, technical and social progress is much faster in some regions (Darokin, the Savage Coast) than others.
    • Partially averted in Ravenloft, where the northwestern Core has undergone significant (Clockpunk-level) technical and scientific progress in recent decades. The fact that most domains in the Land of Mists are less than 200 years old also helps spare it from accusations of Medieval Stasis; Barovia is over twice that old, but is openly derided as an archaic backwater by its neighbors. However, the Dark Powers do interfere to maintain some cultural stasis, often by mucking about with people's minds, especially those of the darklords. For example, the proximity of Falkovnia (solidly Medieval) to other domains with Renaissance-era technology does nothing to change its culture, largely because the resident darklord is averse to both magic and technology.
    • Subverted in Dragonlance by the tinker gnomes. Societies have come and gone, especially with The Cataclysm wiping out the most advanced empire on the planet and sending the rest into a downward spiral. But through it all, the tinker gnomes continue to plug away at their inventions (doomed by the gods to fail, however). Despite their handicap, gnome ships sail the seas and rivers powered by steam (occasionally exploding); labor-saving devices process wheat (usually exploding); and other gnomish inventions milk cows, shear sheep, walk dogs, groom horses, and collect eggs (at the same time. While exploding. If you're lucky). The tinker gnomes' inventions are actually the cause of a lot of the stasis of the continent of Ansalon. Other races are so put off by the crazy and sometimes dangerous outcomes of the gnomes' technology that they don't have much interest in developing technology themselves.
      • One short story features an insanely evil tinker gnome whose latest invention, while complete, is still theoretical. His loving, if sociopathic, description of how it works place it squarely in the category of an atomic bomb.
      • An extremely tongue-in-cheek article in a Dragonlance Splatbook describes one gnome's theory on constructing a giant span of strings sprawling across the continent, connecting every town and place of interest. Since the strings resemble an interconnected rope net, he calls it The Internet. And given it's appearance to a spider's web, he suggests calling it The 'Web for short.
      • Subverted by the continent of Taladas, whose gnomes are actually competent and are known as engineers rather than tinkers. Their inventions work much better, and so Taladas is more technologically advanced than Anaslon. In one of the more recent editions, Ansalon's gnomes were also freed from the "curse of the tinker" and are now considered engineers on the same level as their Taladas counterparts, so Ansalon may soon start to emerge from the stasis.
    • Justified in Greyhawk; between the fractured state of its politics, the divinely-mandated lack of traditional gunpowder, and the fairly small timescale of the majority of its events. The paladins of Murlynd, the hero-deity of Magitek and advancement for good purposes, dedicate themselves to averting this trope, and even use guns. One Dragon Magazine article also detailed a future version of the setting where this trope is averted; after a dwarven reunification leading to an explosion in technology and 1400 years of progress, Oerth ends up with a level of advancement more or less on par with the modern day, plus magic.
  • GURPS Banestorm's world of Yrth has been kept at a Late Medieval level of technology and society, in part due to the Megalan Empire's Ministry of Serendipity, a secret police charged with hunting down inventors, technologies and other ideas which threaten the status quo. The other nations of Yrth appear to have similar organisations. In all cases, this is because mages worldwide are in favor of maintaining stasis to protect their position.
  • Iron Kingdoms deconstructs this (with the possible exception of the elves). A few centuries ago the IK were invaded by a nation with more powerful wizards, so to retake their home they had to develop new technology powered by magic. To make it even more shocking, it isn't just the humans that have advanced. At some point they noticed that certain bands of goblins, trolls, and ogres seemed smarter than others, and these sub-species were incorporated into the societies (gobbers are the most advanced, and make excellent mechanics). Later, it turns out that the Elves (the ones form Ios anyway) are even more technology advanced than the other other races as they have laser guns (or guns that fire magic laser beams) and force fields.
  • Exalted has an interesting take on this, based on the setting's conception for how technology works. It typically requires supernatural powers to develop and build anything more advanced than 16th century technology, and how easily this is done depends on the people in question. The Solars had the best powers, and governed an age of technology at least as advanced as what we have now, and frequently greater. The Dragon-Blood ruled Shogunate didn't have the means to maintain the Solar infrastructure practically anywhere at all, and was slowly falling apart due to infighting, invasions of reality and simple entropy. The Realm (also run by Dragon-Blooded) maintained a social and technological level roughly equivalent to medieval Japan (with the occasional remnant of previous ages) for about 800 years, but that was due to deliberately enforced restrictions. Development in the rest of Creation at during that period varies, depending on factors like security from raksha or Underworld attacks, Realm influence, and available resources and Essence-users.
  • Fading Suns:
    • The church blames technology for the fall of the Second Republic, so the Engineer's Guild has mostly focused on maintaining or at most duplicating old technology. What little research they do has to be done in secret.
    • The Vau are even worse than humanity; they have not advanced at all since the Second Republic first made contact two thousand years ago due to having an (even more) rigid caste system that prizes stability over all else. Though they were largely more advanced than even the Republic at its height.
  • Traveller: The Vilani First Imperium was quite stagnant, leading to their defeat at the hands of the Terran Federation.
  • Inverted in Pendragon, which starts off in post-Roman Britain until King Arthur takes the throne, then each phase of his reign parallels a period in the history of England from the Norman Conquest to the Wars of the Roses with technology to match.
  • Enforced by Rokugan's ruling samurai caste in Legend of the Five Rings. Technology and magic are both very stringently regulated, with a strong cultural emphasis on the "Celestial Order" (parallels with the Tokugawa Shogunate are completely intentional).
  • Averted in Ironclaw, even the oldest of the Great Houses are less than a thousand years old, the youngest two centuries, and they all have detailed histories that are anything but static. In the past hundred years in particular the gun and printing press were developed, and the High King surrendered direct control of the capital city to a council of merchant guilds.
  • Rocket Age: Traditional Martian society strictly regulates the maintenance and modification of technology, as most of what the Martians use was originally made by the Ancients, giving it both religious importance and a need to preserve what could otherwise end up being Lost Technology. This is slowly changing as Earthlings have arrived on the red planet, although the principality of Kirtal has begun improving, repairing and advancing on their own.
  • The far future world of Numenera features many weird locations throughout its universe. One such setting is the Gloaming, a solar-system-sized disc with a star in the center, inhabited by millions of worlds worth of creatures within a (relatively) narrow band of the disc. Countless intelligent species and societies living within the disc, no matter their apparently capability, have managed to remain in a low-tech, medieval society for apparently thousands of years. This is in part due to the influence of psychically empowered aliens, who wish to feed on the inhabitants, and find a low-tech, culturally simple world much easier to control.
  • In Eon, magic is the stand-in for physics, making mages the stand-in for scientists, and the study of magical fields and their effects on the world around them the stand-in for researching and inventing new ways to harness electricity and advancing technology, giving this trope a rather reasonable implementation. That said, and in keeping with Eon's rule of thumb to provide subversions to every trope it plays with, the dwarves' general distrust for magic has lead them to advance technologically and has allowed them to invent things like semi-automatic, pump-action crossbows.


  • BIONICLE's planet of Bara Magna. Following a literal Earth-Shattering Kaboom, during which the planet Spherus Magna split into three, the society of the desert region-turned-planet found itself in shambles. They created a system in which disputes over resources would be settled with gladiator matches, and when the story continues 100000 years later, nothing is any different—even most of the people are still the same, thanks to their long-ass lifespans. Characters who were treated as inexperienced youngsters a hundred millennia ago are still seen as such. Super-powerful beings still continue their war that to the rest of the planet is only a memory. Some people, like Vastus, still feel guilty over what they've done in that war. True, the Iron Tribe died out and at some point the Skrall Tribe moved from the Northern mountains to the desert, but that's pretty much it. Society and technology never moved an inch forward, even though the characters built high-tech implants into themselves and had the war-machines of old to study.

    Video Games 
  • Civilization lets you create your own nation. However, if you get behind in technology, you can end up with knights versus armored tanks. A mod for Civilization V actually lets you enforce this trope in your game.
  • Starbound features a race of sentient robots left over from a failed society experiment that, due to a glitch, are stuck in the medieval ages both socially and technologically. This ironically allowed them to survive as all of the other experiments eventually wiped themselves out once they had the technology to do it.
  • Medieval II: Total War: If you continue to play the game well after you pass/fail the requirements needed to beat it, and assuming you and another faction is still playing, you could potentially see Europe celebrating the year 1900 AD, yet have everything look as it did way back 900 years ago.
  • Warcraft:
    • On the one extreme, the Night Elves have existed in what seems to be a state of technological and societal stasis for ten thousand years. However, this is explicitly shown to be part of the (very conservative) race's way of life; a large segment of their population goes into otherworldly trances, sometimes for centuries at a time, and the remainder are so devoted to their sylvan ways that until recently they tended to disparage all technology or arcane magic. The fact that they were immortal at the time and this represented a single generation also contributed.
    • And on the other extreme, the civilizations of capital city of Dalaran, the Burning Legion, the gnomes, the goblins, the high elves, and the draenei and their naaru patrons all have access to exotic (and in the case of the gnomes, goblins, and dwarves, extremely quirky) Magitek technology.
    • Last but certainly not least is the fact that many of these cultures, having allied and interacted, are beginning to pick up each other's tricks. This leads to some interesting interactions in the present, more internationalist era, such as an Alliance Steam Punk airship, golems being produced like mass-produced robots, or a druid of the Cenarion Expedition excitedly studying super-advanced Ethereal Magitek for possible ecological renewal purposes.
    • In Warlords of Draenor, Garrosh Hellscream goes back in time and helps the Orcs of Draenor avert this by granting them a powerful artifact that kickstarts an industrial revolution. The new "Iron Horde" rejects the Fel magic that corrupted the original Horde in favor of the power of iron.
  • The Legend of Zelda has three timelines displaying varying levels of this (and standard Medieval Stasis in the era prior to the branching point, from The Legend of Zelda: Skyward Sword through the first third of The Legend of Zelda: Ocarina of Time). Schizo Tech exists throughout, of course, although the amount seen and prominence varies with the game's tone.
    • Timeline A, containing The Legend of Zelda: A Link to the Past through Zelda II: The Adventure of Link averts the trope in a strange way as there is a great technological regression. There is, a clear loss of historical and architectural knowledge, loss of more complex clothing technologies, a large population crash, and the loss of much of the Schizo Tech artifacts such as juke boxes, telephones, hardhats, etc. Out-of-universe, this can be explained by the original two games being the last two games in this timeline.
    • Timeline B, containing The Legend of Zelda: Majora's Mask through The Legend of Zelda: Four Swords Adventures, has stasis throughout, with no seen loss of random schizo tech or noted advances or losses. Since it only contains three games, technology could still be progressing, just not enough to notice by the end of the timeline.
    • Timeline C, containing The Legend of Zelda: The Wind Waker through The Legend of Zelda: Spirit Tracks averts the trope the normal way, with a slow but noticable technological progression, including photography, steam engine powered boats, and trains. This is likely caused by the massive social shift and need to adapt to the Fall of Hyrule and migration to island living.
    • Across the franchise (most notably in The Legend of Zelda: Skyward Sword and The Legend of Zelda: Breath of the Wild) there is evidence that previous generations had technology that would be considered advanced even in the modern-day real world (such as artificially-intelligent robots). Even the Beamos enemy, which is present in most games, is evidence of this. Apparently, life in Hyrule swings between incredibly advanced technology and either Schizo Tech or nearly no technology at all, and most of the games happen to take place in the latter eras.

      Notably, Breath of the Wild actively invokes this trope. Set so far in the future that it might be any of the three above timelines, the Sheikah managed to begin recovering, reinventing and rediscovering advanced technology lost in the Demon War that was Skyward Sword's backstory. This sudden advancement and advantage to one tribe scared the king so much he commanded them to bury all of it and abandon advanced technology research.
  • The Elder Scrolls: Technological progress is comparatively slow in Tamriel.
    • The main series of games span several centuries, and technology is at best late medieval and early Renaissance. The in-game historical fiction 2920, The Last Year of the First Era is set over 1000 years prior to the start of the series, and the world is largely the same as it is in the games. Similarly, The Elder Scrolls Online is a prequel to the main series set about 500 years prior to the main series and likewise shows the world much as it is centuries later in terms of technological and societal progress. There is some indication of technological progression between the First and the Second and Third eras, with evidence that the First Era was more akin to Tamriel's equivalent of the Bronze and Iron Ages. By the later Eras, technology was moving to a medieval-level - for example, armor technology in the First Era tended toward leather and bronze, and a man in full plate armor was thought to be a golem rather than a flesh-and-blood warrior. By the Second Era metal armorsmithing was more common and plate armor began to appear. For reference, the Second and Third Eras covered about fifteen-hundred years, making both the Second and Third Eras only about five hundred years longer than the real-life Middle Ages.
    • Dynasties are also much longer lasting than in reality. For example, the Septim Dynasty ruled Tamriel for nearly 500 years when it ended during the Oblivion Crisis. (For comparison, the longest lasting real world dynasty, the Zhou Dynasty of China, lasted 790 and didn't cover nearly as large or diverse of territory as Tamriel, which is about the size of Africa.) Others have lasted even longer, such as the Direnni Hegemony of High Rock. An Altmeri (High Elf) clan, the Direnni's once controlled about 1/3 of Tamriel's land mass at their height thousands of years in the past. They're now a mere vestige of their former glory, controlling only the island of Balfiera in High Rock, but they still exist and have political influence.
    • At least in terms of technology and advanced knowledge, there are a few groups or individuals who provide exceptions. However, for various reasons, their advancements have been lost or have never proliferated throughout Tamriel. To note:
      • The Dwemer (Deep Elves or "Dwarves") were an extremely technologically advanced race. They were master enchanters and engineers, blending these skills to create Magitek Steam Punk-style technology far beyond anything any other group in Tamriel has been able to create. They also (in)famously studied the "tonal architecture" of the world, essentially the laws of nature and physics, in order to find ways to circumvent them, making them literal Reality Warpers. One of the major ways they used this ability was to Ragnarok Proof their creations, allowing them to function in working order for thousands of years. Among their other known creations were Humongous Mechas, a Weather-Control Machine, a Steam Punk Cool Airship, and a computer-like machine capable of safely reading an Elder Scrolls which bypasses the usual nasty side effects. Unfortunately, while attempting to tap in to the power of the heart of a dead god in order to Ascend to a Higher Plane of Existence, they did something which caused their entire race to disappear from the face of Nirn in an instant. Their creations have become Lost Technology, and, while enterprising scholars and mages over the thousands of years since have been able to study and repair their technology, no one has been able to actually replicate their achievements.
      • The Psijic Order is a secretive and selective monastic Magical Society, the oldest in Tamriel in fact. Through thousands of years of intensive study in the nature of magic, they have become able to utilize it in ways the rest of Tamriel is unable to match. However, their philosophy precludes them from sharing these abilities outside of the order. They subscribe to the belief that The World Is Not Ready, and must progress on its own, slowly and at a safe rate. Their many advanced feats include making their home island disappear without a trace (twice), summoning a storm to swallow the Maomer fleet whole, using various forms of teleportation and Astral Projection, Telepathy, and there are even reports that they possess a limited form of clairvoyance and sight into future events.
      • Sotha Sil is (was) one of the Dunmeri Tribunal deities, three formerly mortal advisors to Lord Nerevar who successfully tapped into the power of the aforementioned Heart of Lorkhan after the Dwemer (apparently) failed. In the millennia that followed, he spent much of his time withdrawn from the world in his self-built Clockwork City, studying the "hidden world". As revealed in The Elder Scrolls Online, Sotha Sil's creations reach full blown Schizo Tech status, as he was creating complex computer systems, semi-organic cybernetic servants, turned himself into a Cyborg, and may have even uploaded his own mind into his city (meaning he may not have been killed during the events of Morrowind's Tribunal expansion) all while the rest of the world was stuck in medieval stasis. Given that he is (was) a reclusive Physical God, his creations and advancements have never proliferated outside of his city.
    • There is also evidence of this trope being Downplayed or Subverted in cycles throughout Tamriellic history, with technology progressing at times but the regressing for various reasons. For example, during the late 1st Era, the Second Tamriellic Empire under the Reman Dynasty engaged their rivals, the Aldmeri Dominion, in what is essentially a "space race" to explore Oblivion and Aetherius (which, given Nirn's Alien Sky, are essentially outer space and the celestial bodies). The Aldmeri used Sunbirds, ships somehow literally made from the Sun (which, in this universe, is a portal to Aetherius through which magic flows into Mundus). The Empire, on the other hand, used "Mothships", enormous Ancestor Moths bred, hollowed out, and flown into the void on strength of willpower alone. (Ancestor Moths have a special supernatural connection which also allows them to be used to somewhat protect mortal readers from the power of the Elder Scrolls, which is why the Scrolls are kept and read by the Cult of the Ancestor Moth.) The results of these expeditions have largely been lost to history, and operations gradually ceased because the trips were way too expensive for very little material gain (much like the real world space race between the US and the USSR after the initial trips). On the other hand, as magical technology regressed, mechanical technology has slowly improved, with new types of weapons and armor and machinery being slowly developed over the centuries. However, a great deal of both mechanical and magical knowledge has been lost over the millennia, due to a near constant series of disasters, temporal anomalies causing Cosmic Retcons, political upheavals, and massive wars, on top of the interference by the Daedric Princes.
    • The largest exception in the series to date, at least when it comes to the political climate change, occurs during the 200 year Time Skip between Oblivion and Skyrim. With no Septim on the throne for the first time in nearly 500 years, the Empire begins to crumble as provinces secede while its ancient Arch-Enemy, the Aldmeri Dominion, reforms and grows in power under the leadership of the extremist Thalmor. On top of this were multiple destructive cataclysms, such as the Oblivion Crisis, the Umbriel Crisis (in which a massive continent from Clavicus Vile's Realm invaded Tamriel), the Red Year (in which the massive volcano at the heart of Morrowind detonated when an asteroid struck it, davatstaing one of the most prosperous provinces in Tamriel), and the Great War between the Empire and the Dominion. For those used to the climate in the first four games in the main series, seeing the Empire in such dire straights in Skyrim is quite the shock.
  • Final Fantasy:
    • Justified in Final Fantasy X, for two reasons. First, the state religion made high-tech taboo. Secondly, a gargantuan sea monster tried to destroy all the high tech it could find. Final Fantasy X-2, set after the depowerment of the religion and destruction of Sin, shows that given the chance, Spira can rapidly take to new technology.
    • Final Fantasy VI. After 1,000 years after the War of the Magi, civilization has rediscovered steam engines and "...high technology reigns." However, 80% of the world is locked in Medieval Stasis with a Victorian skin, as the only signs of any sort of technology are Narshe (steam and coal), Figaro Castle (but not South Figaro), and the Empire's Magitek. Although there are also gramophones in most houses.
    • Averted in Final Fantasy XII and the other Ivalice Alliance games, where the further you go along the in-world timeline the more things have gone to hell, mostly likely due to the sort of turmoil caused when your religious warfare gets even the gods involved. In Final Fantasy Tactics mention is made of how they no longer have the technology to make airships and by Vagrant Story even magic's been largely forgotten.
  • Justified in Phantasy Star IV. The events take place 1000 years after Phantasy Star II. The general society has not been in stasis, they just had been so devastated that it took them all this time to simply reach the current level. While all that the ancient systems were doing was sustaining themselves and basic environment conditions (well, not entirely).
  • Tales Series:
  • The Legacy of Kain games jump around by millennia, but always stay firmly stuck in vague middle ages with very little technology thrown in. However, the world of Nosgoth is in a permanent state of biological and spiritual decay, so advancement might be hampered.
    • In the original backstory of the first game, there was minimal to no advancement in a 5,000 year period; later games retconned this to only 500 years.
    • Interestingly, one game in this series completely averts this; Blood Omen 2 takes place 400 years after the original Blood Omen, and in that time has Nosgoth go from a midieval fantasy world with sparse dashings of magitek and steampunk to a full on industrial revolution(still, technically, magitek and steam punk, but on a much grander scale). Averting this trope is one of the reasons that Blood Omen 2 is the least popular game in the franchise; most fans felt it didn't fit withe the over all tone of the series (it also exists in an alternate timeline created by the various time travel shenanigans in the other games, so it has absolutely no effect on anything). Possibly justified, since the ones spearheading this revolution are the Hylden, demonic beings mostly unaffected by the decay affecting everyone else since they rejected being part of the Wheel of Fate. And their reason for doing so is hardly benevolent — they want to complete the weapon that will wipe out everyone on Nosgoth but themselves.
  • The Myth prequel Myth III: The Wolf Age' changes little from the original games despite being set 1000 years earlier, as commented on in this review. Dwarves still fight mainly with grenades, and at one point get a flamethrower to boot.
    • The backstory has them at this level for several millennia before that. They never have more than a millennium at a time to progress before the Leveler knocks civilization back down, though.
    • The Humans and Dwarves were down to one city each at the end of Myth III, so even maintaining the status quo is impressive. The backstory is that civilization rises up only to be toppled again every thousand years, but even so they've been locked for at least six cycles.
  • Adventure game The Longest Journey and its sequel posit that, way back in history, the inhabitants of the world in question had to make a choice between "magic" and "science", and two parallel worlds were created, between which the Player Character can skip. Our PC is from the Science world, apparently 20 Minutes into the Future, whereas the Magic world is still on swords and bows, because anyone born with ingenuity and inventiveness ends up in the Science world.
    • There's also the fact that the laws of physics exists in a state of flux in Arcadia. Making a power plant must be hard when the technical principles you relied on yesterday have been inverted and will probably invert again by the end of the week.
    • Twice, however, groups have attempted to introduce the Arcadians to new technology. In the first game, the Vanguard are offering people inventions from Stark (the science world) so as to subvert the power base of the Sentinels who believe that Status Quo Is God. In the sequel, the magic-hating Azadi Empire takes over a large chunk of Arcadia and introduces airships and steam engines. However, it is mentioned that this is still Magitek, as this is the only way to make them function reliably.
    • On the other side of the coin, most advanced Stark tech suddenly fails after the Collapse (the rebuilding of the Barrier between the worlds). Most in fandom speculate that this is because some of this tech (e.g. antigravity, FTL) defies the laws of physics and only worked through the unintentional use of magic. This explanation also justifies the high number of antigravity accidents prior to the Collapse, as magic is inherently chaotic. The entire world had to revert to using old tech, losing all contact with extrasolar colonies.
  • Averted in Arcanum Of Steam Works And Magick Obscura where the world is in the process of going through the Industrial Revolution.
  • Fallout: In the 116 years between Fallout and Fallout 3, the world has apparently changed very little. Even decades-old settlements look like they were just recently built out of the scrap available, despite their settlers seemingly having plenty of food and protection (so little reason they wouldn't be making their towns any more comfortable). Take Megaton for example, which has been inhabited for three generations and is a major trade center in the Capital Wasteland, yet all structures date from the settlement's founding and mainly consist of scrap metal scavenged from planes from a nearby airfield.
    • Bethesda acknowledges in the Fallout 3 art book that the lack of societal reconstruction isn't realistic, and is only that way to keep with the series' style.
      • The Capital Wasteland appears to be a worst-case post-apocalypse scenario, however:
      • As the location of the U.S. capital of Washington, D.C., it was one of the hardest-hit sites in the country. It's implied that nuclear bombs with a low explosive but high radiation yield were purposely chosen and used on the region to render it uninhabitable in the long-term (salting the earth, so to speak). The local watershed and much of the soil was consequently heavily irradiated. This made farming above subsistence level and obtaining enough potable water to sustain communities larger than a few dozen people extremely difficult before the activation of the Project Purity water purifier at the end of Fallout 3's main storyline.
      • Another factor is the presence of Super Mutants. On the West Coast, the tremendous threat these monsters posed didn't arise until a few decades after the Great War, and fortunately that threat was dealt with in the first game, allowing the formation of the early NCR. The Capital Wasteland was not so lucky; Super Mutants began to emerge within a year of the Great War and were on the verge of completely overrunning the region by the time the Brotherhood of Steel showed up 22 years before Fallout 3 and reclaimed some areas. Super Mutants are still a major threat to everyone at the time of Fallout 3, but there is some hope: the supply of the virus used to convert humans into new Super Mutants is running out, so in theory they could all be killed off eventually if they don't uncover a new supply.
      • Yet another factor is the Talon Company, a large group of ruthless mercenaries plaguing the Capital Wasteland. They were hired by a mysterious unidentified client to deliberately sow chaos and destruction throughout the region so that it remains perpetually stagnant and lawless. To that end they readily kill anyone who isn't a fellow Talon on sight (usually a one-sided fight since they possess weapons and equipment that are generally superior to what the locals have scrounged together).
      • It also doesn't help much that there's countless dog-sized (at the smallest) mutated creatures, feral ghouls, haywire homicidal commercial and military robots, slaver bands, psychotic raiders, etc. all over the Capital Wasteland. It's actually more of a surprise that there's anyone left alive not to mention able to make new tech in Fallout 3 at this point.
    • The Commonwealth is also a justified version. The Commonwealth was struck by a large nuke that missed Boston. However, The Institute's dicking around with the world above by either sending Super Mutants out there, rather than euthanizing them, sabotaging a united Commonwealth conference, sending out synths to kidnap and replace settlers. Not to mention the constant threat of Raiders, mutated creatures and radiation storms.
      • The Institute controls a chunk of Massachusetts centered on Boston and has technology capable of creating Ridiculously Human Robots so advanced they pass for human and can even question their own existence as well as the morality of killing humans and/or other androids. It's implied the Institute was founded by the remnants of MIT or the in-universe equivalent. Even so, the Institute has fallen to this trope in a less visible way: in contrast to other factions, they remain content to remain within their walls with what they have, wasting resources on ridiculous projects like synthetic gorillas. Synths, as advanced as they are, were designed with the objective of destabilizing the region to lessen the chance of the Institute being discovered.
    • The series also implies the world never left The Fifties in style and culture, despite the war happening in 2077. While transistors were only invented shortly before The Great War, fusion power was, among other differences, causing technology and society to develop differently.
    • The Brotherhood of Steel in general IS this trope, they only care about preserving Old World Tech, they are in a slow death, mostly thanks to the NCR who don't care much about this trope.
    • A large part of Mr. House's plan in Fallout: New Vegas involves averting this trope. He intends to use Vegas to kickstart a new era of scientific progress, eventually culminating in space travel so humanity can abandon their craphole of a planet for something better.
      • The same goes with the NCR just not to that scale as much slower, by the time of New Vegas California is near pre-war standards.
      • This would be easier, if the Lone Wanderer would just share the captured alien ship from the Mothership Zeta DLC. Of course, the first thing most would do is fire that Wave Motion Gun at any area of the planet they don't like.
      • The fan-made mod "Mothership Zeta Crew" addresses the issue of the wasted potential of the orbiting alien ship with an ongoing story-driven questline on par with official DLC.
  • Lampshaded in Wizardry VII, where the party comes across a laser rifle of sorts and wonders why anyone would create such a thing when a few sword swipes would do just as well.
  • Played straight in Battle for Wesnoth, whose timeline crosses nearly 1,000 years without any tech level change, then an unspecified time passes during which technology advances far enough to put another star in the sky (well, technically a big nuclear moon) to improve the climate, which then crashes back down enforcing Medieval Stasis just in time for us to pick up the story again.
  • Touhou, sort of. The setting was a backwater back in the Meiji era when it was sealed off from the rest of Japan, so this really makes sense. Then the kappa started building sci-fi technology and a hell-crow turned into a living nuclear furnace, and things are starting to head towards Schizo Tech.
    • This was averted earlier with Rinnosuke; the man runs a shop that sells "odd things," although most of the stuff consists of things that fell across the border. Among other things, he has a Game Boy, and iPod, and a small personal heater. All of these things work, he just doesn't know how.
    • Also in the second game of the series, Rika is apparently the only human character who possesses the knowledge needed to construct motorized vehicles. She uses it to build tanks.
    • An aversion comes from the Moriya Shrine characters, who transferred to Gensokyo from the Outside World relatively recently and are attempting to introduce more advanced technology like hydroelectric dams and even nuclear power. This isn't just for Gensokyo's advancement but because Kanako, one of the shrine's patron goddesses, wants to shift her godly domain to technology so she can get more worship; she's also the one responsible for the aforementioned hell-crow. However, when they discuss this in one of the official manga, Kanako remarks that it'll take a few generations for any of their ideas (even lesser ones like a cable car) to be implemented. Nevertheless, by pooling together resources with the tengu and the kappa, she's able to successfully build her cable car just a few years later with a minimum of fuss; earlier, she was unable to execute the plan by herself.
  • Averted, to a degree, in Might and Magic VIII. Three plot points centres around recent technological and magical inventions (though you only deal with two of them in any one given play-through): The stolen Nightshade Brazier, the Necromancers' Skeleton Transformer and the Regnan Pirates' Prototype Super-Cannon. In addition, the Handwave given for vampires in the party being able to walk around at day is that the Necromancers' Guild recently developed a new sort of amulet that protects a vampire against the sunlight. It's too costly for producing in any larger numbers, though, so it's only vampires that need to travel around that gets them.
    • Might and Magic games don't even sport a medieval stasis. It's actually a sci-fi series where worlds have been created or seeded by a highly technologically advanced race, called the Ancients. However, due to a war with an alien race, the Kreegans, the whole system collapsed and many worlds fell into barbarism for as much as 12 centuries. Considering the fact that this actually happened in the course of our own history, it's not strange. Also changes in styles, fashion and sophistication in building, etc., are clearly evident. Newer castles are depicted with different styles, weapon technology changes, newer metals are used, etc. It's just that the actual games span a time-frame of no more than a century, so these changes are not evident from game to game, so much; it's rather historical evidence present in the games (items that you find, building styles, etc). Games other than Might and Magic VIII or IX, feature actual laser guns, which are from the time prior to the event marked as the Silence (see spoiler). There are also spacecrafts and robots from the same period and tons of other technological stuff, depicting the advance of the Ancients.
      • Heroes Chronicles used the same towns as Heroes of Might and Magic III while covering a period many centuries in length (the chronologically first has been fan-dated to around 200 AS, while the chronologically last takes place around 1172 AS). Given that the series also used a grass/forest town to represent the Vori Snow Elves, this is likely Gameplay and Story Segregation, however.
  • Dwarf Fortress can generate a world's history covering 200 to 1,000 years with normal parameters — even more, or less, with custom ones — and the only difference time makes to civilisation is that empires will be bigger and more megabeasts will have died. This may change, but the developer has said that the technology present in the game won't become more advanced than "1400 AD."
    • On the other hand, players can make ludicrously complex death traps, like one that uses water funneled from a glacier to freeze enemies — it's essentially a liquid nitrogen thrower. This isn't even getting into other mechanisms; one player made a Turing-complete calculator.
  • The Spirit Engine 2 is a borderline example. Gunpowder is just beginning to become used, and classic knights are still being employed, especially by local militias and as headhunters, but the progress is very, very slow. It's later revealed that the Rakari have been trying to hinder progress as much as possible, mentally dulling humanity and mindwiping (potential) inventors, but their grip is slipping, which is why they couldn't prevent the (re-)emergence of gunpowder.
  • The world of The Legend of Dragoon seems to have barely changed within eleven thousand years. This is even a plot point, as the Big Bad wants to destroy the world so a new one can take its place and advance farther.
  • Averted in the Fable games. Even over a short period of time, things change, and in the time between games there has been massive changes in culture, science (Guns!) and society. Most notably is that the Guild, once the most beloved organization in the world, fell into disfavour with the public, and has since then been razed to the ground.
  • Averted in Luminous Arc 2, where lapis-based science and technology was notably being used and developed in Carnava. A few scientists also mentioned steam-power energy from foreign countries without magic.
  • Fire Emblem uses this trope a hell of a lot. While politics and society may change a bit, architecture, transportation, weaponry, and technology in general is pretty much the same as it was 1200, 1000, 800, or however many years it was since the great cataclysm or war between humans and monsters/demons/dragons that sets up the game's plot. Most games also take place in different universe however, explaining this to an extent.
    • Fire Emblem: Genealogy of the Holy War and Fire Emblem: Thracia 776 do this rather egregiously, as supplementary materials indicate they take place a millennium and change before Marth's era on another continent, yet the only recognizable change in technology is the disappearance of light magic.
    • Awakening, set 2000 years after Marth's era, plays this extremely straight, though many liberties are taken with past plots. Apparently, records are well-kept enough that Chrom is able to identify historical figures by sight alone. Chrom is also aware of the majority of the heroes and villains from earlier games. Based off the lack of Cannons which existed in Marth's time, one could even argue technology has regressed! The only part of the setting to avert this trope is the geopolitical situation; the nations of Ylisse and Valm serve as the successor states to Marth's Archanean Alliance and Alm's One Kingdom of Valentia respectively, and Marth's former homeland of Altea is ironically now Plegian territory.
  • Battalion Wars on a purely technological level. Fluff from BWii reveals that most of the Solar Empire's military hardware has remained unchanged for two hundred years, and still isn't outdated.
  • The land of Thedas from Dragon Age is hit hard by this. Due to over-reliance on magic coupled with distinct bans on in-depth research on the phenomenon, the nations of Thedas have remained stagnant socially and technologically since the fall of the Tevinter Imperium over 1200 years before the start of the story. The only groups that seem to have made any technological advancements are the dwarves and the Qunari. Both isolationist peoples with very little reliance on magic. Even then, the advancements are extremely slow and, socially, both are even more rigid than the general populace.
    • In Dragon Age II, a dwarven merchant tries to "court" the Qunari into selling him the secret to their "blackpowder"; the Qunari leader he's courting explains to all involved that non-Qunari aren't ready for the responsibility to use the substance (not to mention it's a significant advantage for their military to possess). Earlier in the quest Hawke can ask why the merchant he's bothering when lyrium can also act as an explosive. The merchant lists the problems with using lyrium as A) it's lethally toxic, B) its trade is controlled by the Chantry, and C) its blue-white glow makes its user visible at a distance. Blackpowder has none of these problems and would be a great help against the Darkspawn Horde that continually attacks the last of Dwarven civilization. So, while the setting's Applied Phlebotinum is useful, it's also restricting the development of the cultures reliant on it. Why the Qunari haven't developed personal firearms isn't certain, but who knows why the Qunari do anything they do? While the Qunari sense of honour might prohibit the use of personal firearms, they do have cannons for their ships.
      • This article takes the same position as the first entry as it postulates that the presence of magic itself is what is holding back Thedas, that technology does not advance because magic can be used to do the same things with greater ease combined with the apocalyptic nature of the Blights and the restrictive dogma of the Qun and the Chantry's holds on magic experimentation. The sentence "that mages are holding the world... back, even as they hold it up" could be used for every medieval fantasy setting.
      • As of the end of Dragon Age II this all may be changing; at least, it certainly appears that humanity has discovered gunpowder... and that gunpowder plus magic is very destructive. The future ramifications of this remain to be seen.
      • The epilogue of Dragon Age: Origins – Awakening has the Qunari sending assassins after a dwarven explosives expert who is dangerously close to figuring out how to make blackpowder. The Qunari actively enforce medieval stasis in this case to maintain their military advantage.
    • A recurring theme, confirmed by various ancient characters in Dragon Age: Inquisition, is that the world is actually in decline. Technology advances or is reclaimed, albeit slowly, but Older Is Better is still in full effect for weapons and armor and they haven't matched the level of before the First Blight yet. Magic is consistently getting weaker, and even by that time had been much diminished from when the Elven empire was at its height. Some things, like the old Imperial Highway, are not really beyond their current technology but do require manpower and logistical capabilities that the modern kingdoms don't have. Bizarrely enough this even effects the Darkspawn, who have no culture to lose; the First Blight devastated the Imperium and the Dwarves at the height of their power in a grinding conflict that lasted centuries, but each subsequent Blight was shorter (from nearly two centuries to decades to merely a year at most) and less and less successful than the last, despite their foes being shadows of what the First Blight faced.
      • Though the case of Blights might actually be justifiable. In the first one, no one knew how to kill the Archdemon , who is the main cause of the Blight on the surface (since Darkspawn numbers are essentially unlimited the only real way to deal with the Blight is to kill the one organizing them). When the first Grey Wardens figured how to kill the Archdemon (around 120 years after the Blight), the tide slowly turned. The Second Blight was devastating because it came right after great upheaval in the Tevinter, making them choose to cut their losses in most cases instead of fighting. As kingdoms become more and more organized and Wardens became a more powerful organization, the Blights got shorter. The case of the Fifth Blight might have been a special one as well mostly since it was artificially and accidentally caused by the Architect trying to end the Blights instead of due to the natural way of things, thus cutting the number of Darkspawn armies greatly.
  • Dishonored provides a unique aversion. The world of Dishonored is essentially your standard Dark Fantasy setting in the middle of its industrial revolution. There's automobiles, tankers, Mini-Mecha, and guns, and "whale" oil is used as the primary fuel for all of this technology. There's many reasons for the technological progress of Dishonored's setting, but the biggest one seems to be that magic is heavily suppressed by the Abbey of the Everyman.
  • Invoked in the King's Quest universe: Expanded Universe material says that magicians, mythical creatures, The Fair Folk, fairy tale characters, and those sympathetic to them withdrew to another universe to escape the enchroachment of "enlightment" thought that wanted to study them into irrlevance or destroy them through disbelief. There is evidence that they're taking a Magitek route instead of conventional industrialization.
  • The Mass Effect universe has a zig-zagging example of the trope. On one hand, technology doesn't seem to have advanced too much since the Council started inhabiting the Citadel. On the other hand, we do know that it is advancing technologically, as more powerful "heat sink," based weapons are the norm by ME2, as well as omni-gel proof systems, and by Mass Effect 3, Mech suits and omnitool lightsabers have come into practice. On the third hand, everything about the technology in the Mass Effect universe is a trap. Everything is reverse engineered from technology left behind by the Protheans, who reverse engineered the tech from another race that came before them, who did the same thing to the previous race, and so on and so forth. The entire tech base is a trap set by the Reapers, who use organic life to further their own technology before taking anything good, while having the benefit of millions of years of development to crush anything in their path.
    • On the fourth hand you have the Geth, the machine race that happen to not only have the most advanced technology (aside from the Reapers) and progress at the fastest rate, but since they believe in self determination, all of their tech is of their own design, and may be the only suitable counter against the Reapers.
    • Humanity's tendency to avert this is lampshaded in the second game, where by 2185 their businesses have become responsible for nearly every new technological innovation currently out on the market. This has forced the other races to break out of their complacency in order to keep ahead of the curve.
    • One small aversion. You go out for Wrex's family armor, but it is made very clear that it is obsolete (it's well over a thousand years old) to any other armor you can give him. Wrex wants it for sentimental reasons and afterwards doesn't have a problem with you grinding it to Omni-Gel.
  • Dark Souls has at least a 1,000 years with no progress past the Medieval European Fantasy seen during the Action Prologue. It is implied that this is one of the problems with the Age of Fire in which the gods rule over man, and that should the player choose to become the Dark Lord, humanity will at least have a chance to break the stasis.
    • Dark Souls II confirms that there is a constant cycle at play of "fire and dark" and that great kingdoms constantly rise and then come crashing down due to monsters, insanity, and the undead curse. It turns out that the Emerald Herald was an attempt to break this cycle of fire and darkness.
    • The Ringed City, the final DLC of Dark Souls III reveals that this all started because Gwyn feared the power of Humanity's Dark Soul so much that he placed a seal of fire on them to trap it. This seal became the Dark Sign. Driven by his paranoia, Gwyn literally sealed Humanity's potential and doomed the world to a Vicious Cycle of fire and darkness that eventually left nothing but ashes.
  • Xenoblade has a very odd mix of technology, featuring flying ships, killer robots and guns that shoot healing magic alongside katanas and strange shield-spear hybrid weapons. It is nevertheless still in stasis. The backstory shows that technology doesn't get much of a chance to develop as their god decides to erase all life whenever he becomes afraid they might stumble upon space travel and leave him because he needs them to sustain his lifeforce.
  • Xenoblade Chronicles 2 plays with the trope a bit. The world is largely dependent on Titan technology — that is, literally building mechanical attachments onto the living creatures to make transports, airships, and artillery platforms. It gets there using equipment brought up from the Cloud Sea by salvagers — nobody knows how salvaged stuff works, only that it does, and how to use it in their own creations. Amalthus laments this represents a technological regression, as pre-Aegis War empires were capable of creating mechanical marvels can can't be reproduced in the game's time. It turns out that salvage is actually 20 Minutes into the Future Earth technology — the Cloud Sea is a benevolent Grey Goo that's reconstructing stuff out of whatever falls in, explaining how the world never runs out of new salvage to use. However, Amalthus is also a giant hypocrite, as his egocentrism and god complex have him keeping the entire world dependent on an unsustainable resource he controls the distribution of. It never seems to cross his mind Humanity might actually be getting somewhere if he stayed out of the way.
  • Guild Wars 2 averts this trope, with the 250 years between the first and second games having given way to full-scale industrialisation by the Charr — to the extent that the Charr have large gun platforms, cannon weaponry and even primitive tanks. Then there's Asura technology.
  • Majorly averted in Chrono Trigger. Despite the "present-day" setting of 1000 AD having a strong medieval feel, a quick trip back to 600 AD makes it obvious that there has been some significant advancement in the intervening years. When the gang travels to 1999 AD, the world is even more technologically advanced than its Real Life counterpart. There is sort of future stasis after 1999, but that's justified by the After the End setting.
  • Lunar: Eternal Blue takes place 1000 years after Lunar: The Silver Star, yet there are practically no advances in technology.
  • The dates are about a thousand years behind the actual technology level. 1000 AD is clearly similar to the late 20th century in our world, just in a land where many of the medieval buildings have been preserved instead of torn down. 600 AD is The High Middle Ages (although 200 AD might have been more appropriate in that case). 1999 AD looks like something out of The Jetsons.
  • Justified in Golden Sun lore. The Golden Age of Man ran on Alchemy-powered Magitek; when Alchemy's power was sealed away, the Adepts and craftsmen dwindled in power and number, beastmen went extinct, the very world itself began to crumble at its edges, and Muggles who had no way of working with the Magitek became the dominant race. As a result, civilization experienced a huge kickback, but appears to have been slowly rebuilding technology even in the first two games, going by NPC chatter about newfangled developments in architecture and nautical engineering. Then the heroes reverse the seal on Alchemy, and during Dark Dawn there's obviously a fantasy-counterpart Renaissance in full swing.
  • The Eastern Kingdom of Mikado in Shin Megami Tensei IV. The Law Faction's goal is to permanently seal it in this trope by putting the Four Archangels in charge (Gabriel's been hard at work keeping it that way for almost a millenia and a half) and detonating a Magical Particle Accelerator in the middle of Tokyo, wiping out what seems to be Humankind's last bastion of wisdom and knowledge in the world. Conversely, the Chaos side wants to blow open the doors to Naraku and allow demons to march straight into the capital, forcing the locals to either fight them and learn more about war and evolution, or just die, leaving the Tokyo natives to reconquer their world.
  • In Code of Princess, the entire reason magic exists is to keep humanity in Medieval Stasis so they don't destroy themselves again.
  • Monster Hunter plays with this. Technology has visibly advanced as the series as gone on; the first game was very much Bronze Age/prehistoria with some very primitive firearms, but the latest games feature widespread use of balloons and airships, as well as advanced mechanical contraptions like the Switch Axe. However, society as a whole hasn't progressed past the hunter-gatherer stage after all this time. Agriculture does exist, as indicated by the resource-multiplying farms you have access to in later games, it is just not widely spread, as that would require having to move outside the protective walls of the cities. Supplemental material released only in Japan reveals that the world takes place after the fall of an "Ancient Civilization".
  • Downplayed in After the End: A Crusader Kings II Mod. The mod uses the base game's technology system, so technology does advance as time passes, but aside from a few rare artifacts that can be recovered from old ruins, society can't progress beyond the equivalent of the early Renaissance.
  • In Asura's Wrath, Asura is killed a few times, and each time wakes back up into the land of the living multiple centuries later, always to a world that is identical to what he left, both in terms of humanity and the demigods. The first time he does this, he is dead for 12,000 years. It's implied that the Gohma (basically giant murderous animals made out of magma) and Asura's fellow demigods both slaughter humans en masse on a regular basis to such a degree that it's surprising there even IS anything resembling a civilization remaining to begin with, as is evident from the fact that the demigods have gathered 7 trillion human souls worth of Mantra in Asura's absence and a large human city being completely wiped off the map and its thousands of souls being harvested is brushed off as being "just something they do" by one of the demigods.
  • Averted in the Kiseki Series Series. 1200 years ago the world was ruled by a civilization of advanced technology with airships, elemental powers, and left behind several artifacts of great power and utility after the Great Collapse. Society across Zemuria rebuilt itself after around 1200 years. The aversion comes when a scientist is able to reverse engineer artifacts and develops a new technology called Orbments, basically quartz crystal put into clockwork with different elemental properties. This single invention kickstarted the Orbal Revolution, allowing the creation of Orbal lightbulbs, working power grids, Orbal guns that shoot plasma, and phones, all within the span of 50 years. It's portrayed as chaotically and realistically as one might imagine as old middle-age maps are redrawn, several countries have urbanized their cities, warfare has changed entirely as a few well-trained Orbal users can level small armies with magic, and democracy and free thought have caught on, leaving nobles struggling to keep their power under outdated monarchies. The plot of The Legend of Heroes: Trails in the Sky comes from the fact that the small country of Liberl has suddenly become incredibly important as they sit atop a wealth of Septium crystals for mining quartz, and the Erebonian Empire wants it, similar to the effects fossil fuels have in developing countries. Not only did the world go through the equivalent of the Industrial Revolution, but they did it in triple the speed, making it a very exciting time to live.
  • Chronicles Of Elyria, an MMORPG of all things, will avert this. While starting at a high middle age tech level, players and NPCs will be able to conduct research, and the developers have hinted that a steampunk industrial revolution is completely possible to pull off by the end of the storyline.
  • The Divinity video game series has a timeline that places a good portion of the games close to each other (justifying this with Divinity: Original Sin II, so that it can be more thematically and lore-wise close to the others), but Divinity: Original Sin takes place in a roughly medieval-to-renaissance-era level of technological development (with only a few Romanesque aesthetics in Cyseal). One thing to note is that the first Original Sin game takes place 1200 years before the other Divinity games — and the technological level seems largely unchanged, having never recovered from the era of Dragon Commander.
  • Averted in Paladins thanks to the discovery of crystals. A powerful energy resource, these crystals launched the formerly Heroic Fantasy Realm into a crystal-powered technological revolution that saw the creation of marvels such as Mini-Mecha, firearms as advanced as assault rifles, and flying machines.
  • Metal Slug takes place in the 2030s, but technological advancement seems to have stopped after World War II (with some Vietnam trappings like helicopters). The sequels veer into Schizo Tech, where one moment you'll be fighting propeller planes and the next you'll be fighting a giant laser-spamming robot in power armor.
  • Pillars of Eternity is a Deconstruction of this, though you don’t find out how until The Reveal at the end; an Ancient Conspiracy led by the Big Bad is actively working to manipulate society and enforce a Medieval Stasis because they’re worried that if people advance far enough, they’ll be able to discover that the gods are actually giant Magitek AIs created by The Precursors. They’re not completely successful at it; while they’ve more or less successfully suppressed animancy and other magical studies, technology is slowly advancing to the point that current society on Eora is actually implied to be more technologically advanced than that of said Precursors.
  • Crusader Kings zig-zags the trope: The game is set up to end in 1453, before The Renaissance and the big changes kick in (nevermind that the real-life conditions needed for the Renaissance may have happened centuries earlier or be unlikely to trigger due to gameplay events), but the mechanics of gameplay means that things do not really change from whatever start date you pick (the earliest possible being 769, almost 700 years earlier). Armies consisting of the same mixes of infantry, cavalry and archers/pikemen are raised from the same castles, cities and temples, which are ruled by the same types of noble, mayor or priest. The tech system means that troops from more technologically advanced cultures will beat their equivalents from less advanced ones, and tech gradually increases with time as does levy size (as well as new holdings getting built), so armies gradually increase in size and power as the game goes on. The tech system also unlocks new buildings, making holdings richer and more powerful as the game goes on as well. There are also areas of the game that starts out as tribes or horse nomads and may transform into feudal or republican governments (including the player if they were one of them), and frequent wars tend to change the political and religious landscape. That said, the game's mechanics also means that empires and dynasties are much more stable than they were in real life (though given it's game over if your dynasty dies out, the latter can be excused by Rule of Fun), so if you start in 769 it's not at all unusual to see the Umayyad Caliphate of Cordoba (collapsed in 1031), the Abbasid Empire (fragmented and was subdued by the Seljuks in 1055), the Byzantine Empire (died a slow death between 1202 and 1453) and the Carolingian Dynasty (last male-line heir died in 1085) all still alive and kicking in 1453.

    Web Comics 
  • Parodied in 8-Bit Theater, when Red Mage confronts Thief about the supposed superiority of elves, who have technology on par with the rest of the world despite having a 9000-year headstart. Thief responds with something to the effect of "Er... we like it that way. You inferior beings wouldn't understand." Plus there are ruined ancient civilizations everywhere who had helicopters, flying castles, killer robots, cold fusion reactors, which indicates that progress does occur elsewhere, it just keeps getting knocked back in anachronism every so often. Occasionally because of the elves, but mostly because everyone is Too Dumb to Live.
  • In Floyd by Aaron Williams, at one point "ten thousand years" are mentioned, with an even longer history prior. This is longer, in the real world, than written history has actually existed (though this may be an After the End situation as well).
  • Nodwick also suggests that a time traveler's mistake knocked society back to a medieval level from which it never recovered, magic is there but used by very few, which contributes to the problem.
  • Drowtales:
    • This trope is played straight concerning the technology, but there is a slow cultural, social and political evolution during the 1000 years of the moonless age. for example, great clans rise and fall, the faith in Sharess was strong, but is now challenged by demonic worshipping.
    • Averted in technology, as well. The characters are seen using anything from portable music players to artificial limbs and magically enhanced sniper crossbows. And then there are the Jaal'darya biogolems and other organic tech that is an extremely recent innovation. It's all largely based on magic, but it develops and advances very much like the technology in our world.
  • The world of Dan and Mab's Furry Adventures has individuals who are tens of thousands of years old and the world was stuck in the middle ages until rather recently. Some city-states have information age Schizo Tech but swords and arrows are the standard weaponry world over. It's suggested that the magic-using Creatures have suppressed technological development to prevent non-magical Beings from presenting a threat to them. It's also been hinted at as an "it doesn't work here anyway" situation, in the sense that the whole world is suffused with natural-law-disrupting magic. Jyrras, who has been pushing the envelope of technological development, had to first invent a very laborious, very slow, very expensive method for removing magic from materials before he could use the resulting metal to create the very-first firearm. (Meanwhile, the rest of his tech is either outright Magitek, or... somewhat unpredictable.)
  • Europa in Girl Genius is a world of Schizo Tech, where advanced robotics and medicine exists but things such as phones, cars and radios don't and the most advanced form of long distance travel is an airship. At one point, Gil showed his friend/rival Tarvek his prototype for heavier than air flying machine and he treated it like it was some type of evil magic. This is because the world is run by mad scientists who are more interested in making monsters and death rays than any form of practical technology, meaning the world hasn't had any real type of major advancements in centuries. It's also been shown that the ruling powers of Europa keep the most powerful and advanced technology for themselves and kill off anyone who tries to discover how their tech works or successfully recreates it.

    Web Original 
  • Averted in Tales of MU, which is supposed to be a "medieval fantasy setting, five hundred years later," with Magitek in place of modern technology. A side story set two hundred years in the past of the main story resembled America's colonial period.
  • Limyaael's Fantasy Rants: Limyaael has written a rant specifically on how to keep these kinds of settings plausible.
  • In The Salvation War, the realms of Heaven and Hell are stuck in this state, partially because the angels and demons are very conservative and long-lived, and partially because the respective leaders (Yahweh and Satan) have discouraged technological growth because advanced underlings are dangerous underlings, and instead built cults of personality around themselves that resulted in a societies of fanatical devotion to egomaniacal despots. This is mostly the reason why the humans utterly crushed them both.
  • The Pactlands in Engines of Creation has made few advances in terms of technology in one thousand years, largely due to the control and flow of information.
  • The entire world of Dino Attack RPG, due to the fact that it was inspired by LEGO. Though most of the action occurred in relatively modern environments there is "Castle Cove" (providing a literal example), along with the tropical sea in which people are still living as in the late 18th and early 19th centuries (complete with swashbuckling bucaneers), the vast desert region that is home to the town of Gold City — which more or less resembles the setting for a Sergio Leone Western, and let's not get started on any of the crazy futuristic space stuff.

    Western Animation 
  • Deliberately invoked by the people of Tarkon in Adventures of the Galaxy Rangers. A devastating war happened on their planet many centuries ago, and the people were hell-bent on making sure that they never again reached a technology level high enough to cause the same kind of devastation. Unfortunately, the rest of the galaxy started to notice Tarkon, and the people are Human Aliens, who are implied to be perfectly compatible with the Queen's psychocrypt. Cue one princess waging open rebellion against her society and her father to try and get her planet catching up.
  • In Adventures of the Gummi Bears, humans forced the Gummis across the sea and into hiding centuries ago by the time the series proper starts. Yet the timeline still seems to be stuck in the Theme Park Version of The Middle Ages. However, it is noted that the entire reason for the conflict was because humans wanted Gummi technology, which is quite advanced compared to what humans have.
    • In the course of the series, the Gummis are known more for their magical prowess and general cleverness, but two standout examples of their technology would be a human-sized, combat-capable Mini-Mecha, and the Gummiscope, which could be used as either a long-distance communication device (complete with an animatronic hand for transcribing the message on the receiving end!), or a colossal Death Ray. In addition, they also had access to heavy ground vehicles, aircraft, and chemical weapons. In a world otherwise trapped in Medieval Stasis, the Great Gummis seem to have mastered Clock Punk.
  • The Avatar: The Last Airbender universe plays around with this trope in many ways.
    • Avatar: The Last Airbender:
      • In the flashbacks of Aang's three previous lives, which seems to span somewhere on the order of three or four hundred years, most of the world seems to have changed very little (Aang's outdated knowledge of slang aside). Even the Fire Nation, the setting's sole industrialized country, isn't completely immune; its ironclad steamships seen during the bulk of the series are virtually indistinquishable from the ones seen in flashbacks taking place one hundred years ago.
      • We see some technological innovation over the course of the war (and the art book states that Zuko's own ship is quite old compared with the current Fire Nation standard), but the overall developmental pace over those hundred years still seems quite slow considering that the Fire Nation already had a 19th-century Steampunk level of technology; you'd expect the war to have accelerated the technological development of it and its opponents. Heck, even the innovations we do see were mostly created by just one inventor towards the end of the war.
      • Even if technology has been slow to change, culture has evolved over time. The Sun Warriors were apparently precursors to the present-day Fire Nation, and had similar but different architectural styles and a very different perception of fire. The Fire Nation itself used to be a theocracy ruled by the head Fire Sage, until one of those Fire Lords became the start of a monarchy. In Kyoshi's time the Earth Kingdom was apparently a collection of warring states with little respect for the Earth King in Ba Sing Se; even in Aang's time another city, Omashu, has its own king, and Kuei isn't particularly considered outside of his own city, wheras in Korra's time the monarch has enough power that her death destabilizes the entire continent. Before Kuruk's time the Water Tribe was united in the north, then the Southern tribe seceded and built its own culture. The culture that seems to have changed least is the Air Nomads, who are clearly recognizable in Wan's time, even having similar tattoos. Given their Avatar statues they might have a collective interest in preserving and maintaining their history and way of life.
    • Averted in Sequel Series The Legend of Korra, which takes place in the setting's equivalent of The Roaring '20s. Not only has the entire world basically gone through the Second Industrial Revolution (in the seventy years that separate the series), but cars and radios have become quite common, and the first airplanes and films are already in production. Heck, they're even beyond real life at this point, with fully functional Mini-Mecha!
      • The flashbacks to Avatar Wan's time 10,000 years ago show a world that is clearly different from the world in both Aang's and Korra's time, but less different than would be expected for a 10,000 year gap.
      • Korra averts the trope not only in terms of simple technology, but it also goes to great lengths to show cultural change. The reformed Air Nation, being formed from people from several different nations who joined at various ages, are shown as being far less monastic than their Air Nomad predecessors, and much more active in world affairs. Also, head-shaving is far less common, and modern Airbenders have replaced their traditional clothes with wingsuits developed by Future Industries.
  • Futurama:
    • Parodied when the professor, Fry, and Bender travel in a forward only Time Machine and see epochs of human evolution, which at one point reverts back to middle age castles and knights wielding swords and riding birds.
    • The series itself could count in a strange way. Due to many alien invasions, robot rebellions, wars with carrots, and brutal dictatorships, Earth has had many years of technological stagnation, and they still use the same technologies for over a thousand years (such as the suicide booths that advertise their use since 2008).
  • Subverted in Thundercats 2011. While the Thundercats' society has remained in Medieval Stasis at a level around that of the dark ages or Lord of the Rings, the opening has the Lizards suddenly attack with Giant Robots, Missiles, and laser guns. It's a massive Curb-Stomp Battle for the heroes, and Thundera (the homeland of the Thundercats) is wiped out in less than a day.
  • A section of the Ghost Zone in Danny Phantom plays this trope quite straight. Not only is it a Medieval society set seemingly in the Dark Ages, but it is surrounded by a layer of black clouds and all time literally stands still, along with technology failing to work.
  • In Trollz, Simon invokes this in the time travel arc. He sends Trollzopolis to the Middle Ages and plans to make sure it stays that way.
  • Most versions of The Transformers take this to the extreme of nothing much changing over millions of years. Semi-justified in that the characters are extremely long-lived, so the generational turnover that drives change in real life scarcely exists for them.
  • Mysticons shows what happens when this is Averted, resulting in lots of Magitek and skyscrapers alongside elves, dwarves, and the undead.

    Real Life 
  • Averted in Real Life; the people of the Middle Ages certainly didn't think of themselves as living in stasis (or, indeed, in the 'middle' of anything). The Middle Ages saw a great deal of technological innovation. To name a few, the windmill, spectacles, sophisticated armour, three-crop rotation, the mechanical clock, gunpowder and the flying buttress all were medieval inventions.
    • During the Middle Ages art and architecture evolved from a Late Roman style to Romanesque to Gothic. By the High Middle Ages, fashion and design was very distinct from what was present after the Fall of Rome. For instance, Constantinople's Hagia Sophia was created in a revolutionary new architecture style, only sixty years after the Fall of Rome.
    • However People in the Middle ages also had a skewed view of the past, for example many Roman and Greek myths survived and were expanded upon, but with knights and castles added in. Similarly Medieval literature often portray mythological and historical figures as following a weird hybrid of Christianity and the Greek/Roman Pantheon. And in some of the Baltic states (which remained the most primitive region of Europe until the Teutonic Knights forcibly modernized the place), the old Norse and/or Slavic gods were still worshipped until the last medieval centuries, meaning that most of these countries were Catholic for only a few hundred years before Protestantism or Orthodoxy swept in. For all intents and purposes they thought the world had been as it was then since civilization picked up.
    • Medieval art was an inversion. Later Medieval paintings of great battles such as the siege of Jerusalem in the First Crusade would often depict the armies in whatever the latest, most fashionable, and most advanced armor of the painter's time, leading to paintings of early Crusaders dressed in full plate mail armor instead of cloth and chainmail.
    • This is also why the popular images of Jesus, the saints, and many angels look suspiciously like Renaissance-era Italians both physically and in how they are dressed.
    • Both may have an explanation other than the author's own ignorance, specially in the case of religious paintings which were intended for "mass consumption" in churches (and not to sit in modern museums, as any guide will remind you). The paintings weren't there to look pretty, but to help parishioners visualize and memorize biblical stories and saints lives. This was easier and required less explanations if the characters in them dressed and looked like the viewers. This practice continued well after the Renaissance, as missionaries in other continents would represent the people of the Nativity scene in the local clothes and skin color despite this being obviously impossible. Colonial Peruvian art includes roasted guinea pigs in the Last Supper and gives the archangel Michael a gun instead of a sword, for instance. This is because Peruvians were more familiar with the former: swords were not used in the Inca Empire, and the typical Medieval sword was in decline in Europe when the Spanish conquest happened.
  • From the perspective of the longue durée, one can actually see the true medieval stasis to be...The Roman Republic and The Roman Empire. For all its status in the early modern, enlightened and romantic imaginary as a modernizing and civilizing force in Europe, there was nothing in terms of advancement in science and mathematics.
    • The great achievements of the Ancient World in mathematics and physics come from Egypt and Greece. The antique technology of later eras, the Antikythera Mechanism, the Baghdad Battery originated outside Rome. Meanwhile Caesar's invasion of Egypt resulted in the burning of the Library of Alexandria. The Punic Wars saw the death of Archimedes at the hands of a Roman legionary, since he, a Syracusan, fought on the side of Hannibal Barca. The Romans were brilliant engineers but they merely synthesized pre-existing works in engineering from the Etruscansnote , and their greatest and most enduring technical contribution, the Julian Calendar (later corrected to the modern Gregorian Calendar) came from their interaction with Egyptian astronomers.
    • The Romans fascination for all things Greece led them to adopt the Aristotleian conception of physics for centuries, an attitude that Christians imbibed, and this put a stop to the natural development of the scientific method. Indeed, modern civilization actually revived during the so-called Dark Ages, first with the Viking invasions which revived trade routes across all of Europe, then the rise of the Arabs, the establishment of the House of Wisdom, and their spread of Indian mathematics westward, resulting in the formation of the universally used Arabic Numerals which Fibonacci introduced into the Western World in 1202, to replace the cumbersome Roman numeral system.
    • The stasis of Imperial Rome can be compared to that of Imperial China, despite the apparent contradiction that many technological inventions happened there first. It wasn't unusual for those same technologies and other things like philosophy, medicine, bureaucracy or military doctrine to remain unchanged for hundreds of years after being adopted, or even millennia. China was so sure of its own superiority historically, that it was extremely reluctant to adopt the ways of foreigners (a.k.a "barbarians") until the Opium Wars showed them why they should.
  • Earth — Industrial technology has existed for at least 2500 years going back to Ancient Greece, but it wasn't till the end of the eighteenth century that one small, damp little island in the corner of Eurasia decided to do something with it.
    • The Antikythera Mechanism is a good example of this.
      • The kicking off of an industrial revolution requires several complex factors, none of which Ancient Greece had.. To begin with, the place has to have basic law and order. It also has to make economic sense for people to invest in tools and machines to do things rather than just hiring (more) people and animals. Furthermore, people have to be able to get money to pay all these tools and machines — which means (easy-to-obtain) loans and institutions which can issue them at reasonable rates of interest. And that's just for efficient arable-farming, never mind the intricacies of manufacturing industries.
  • The political, social and technological organization of Japan remained the same from 1600 to 1853 — while the rest of the world changed — but this was mostly intentional, due to legally enforced restrictions (known in Japanese as the Sakoku or 'closed-nation' policy, though the term has fallen out of use in favour of 'isolationism'). The basic structure of Japanese society and state remained largely unchanged through the Feudal period, 1185-1868, though the 'warring states' period that immediately preceded the rise of the Tokugawa Shogunate saw a lot of (upward) social mobility.
    • By the time Commodore Perry arrived off what is now Tokyo Bay in 1853 however, there were at least a handful of changes from the days of Tokugawa Ieyasu. The Samurai in general had long turned into a landed peacetime caste, though their place in society was gradually being challenged by the merchant classes. With the exception of fringe and particularly stubborn clans, most were either allied to or puppets of the Shogunate. A fair bit of knowledge of the outside world filtered through the Ryukyus, Tsushima, and the isle of Dejima (modern medicine and science being called "Dutch studies/learning", acquired as it was from contact with the Dutch trading post confined to Dejima Island in Nagasaki). This meant that while the Japanese didn't have the technology that showed up on their doorstep (i.e. the "Black Ships"), they knew enough for the better-informed among them to figure out just how far behind they were falling in the seventeenth and eighteenth century.
      • During the mid-sixteenth century the Japanese got a hold of two Portugese matchlock muskets and quickly figured out how to both mass produce them (it's estimated that pre-Tokugawa Japan had more firearms than existed in all of late-16th century Europe) and use them effectvely in battle far before Europeans ever did. Unfortunately, they never improved on the design and when Europeans and Americans showed up in the mid-19th century with far more modern weapons, the Japanese were hopelessly outclassed.
  • The Amish deliberately shun most or all kinds of new technology due to religious beliefs and enforcing a strong belief in hard work as rewarding, instead electing to live a life that is not very different from the lives of those who lived around the 18th century or before that, on the whole. They do have contact with modern society, and some do use modern technology like tractors, but they mostly aim to be self-reliant and any use of modern technology is rare at best.
    • This will occasionally move into Schizo Tech territory, with motorized farm machinery mounted on a wooden platform and pulled by horses or sewing machines which are powered by a foot-operated treadle and controlled by mechanically linked dials and switches.
    • The Amish value group effort when determining whether to use or avoid a piece of technology. Families are discouraged from using mechanical farming equipment in order to motivate them to work together in order to accomplish a harvest. In one case, a governing council actually commanded an elderly Amish farmer to purchase a tractor as his sons had moved out and he could no longer accomplish his harvest. The idea is that relying on the community discourages vanity and other sins.
    • The Amish will use technology when required by the law — modern pasteurization for dairy products was the first example of this. Likewise, if you hire Amish for construction work and ask them to use power tools or supply them, they will use them without considering it a "sin."
      • Amish and similar groups are survivalists who don't want to be dependent on other people. They simply don't use technology they can't reproduce themselves but doing a job for someone else does not contradict this rule.
    • Interestingly, while a lot of people may be opposed to genetically modified food, the Amish love the idea of disease-resistant crops and eagerly grow them.
    • And while the Amish may not use nor closely follow the latest in technology, they're hardly ignorant about it. They know what computers are and have a grasp of what sort of things they do — if an Amish person is injured and an ambulance takes them to a hospital, they will hardly be confused and think there's magic at work — they won't gasp in shock at a person's cellphone.
      • Children raised as Amish are actually expected to spend a few months living in the modern world upon reaching adulthood, so that if they do decide to commit to the Amish lifestyle, it's an informed choice.
    • Some Amish have started using solar panels in order to have electricity without needing to abandon their self-reliance.
    • With the popularity of Amish furniture as being extremely well-crafted and durable, a few Amish businesses have devised absurdly clever "no-tech" ways to shuttle the one telephone they have between everyone in the building to handle business calls.
  • Believers in the Phantom Time Conspiracy Theory argue (among other things) that little to no architectural evolution happened between the years 614 to 911 and take that as evidence that those years of European history are in fact fictitious and the work of Holy Roman Emperor Otto III, who wanted to be crowned around the year 1000, despite it only being the year 703.
    • There are many reasons why the PTH is ridiculous, not the least the fact that this supposedly "unchanged" intermediate time saw the rise and expansion of Islam, the Islamic Golden Age, the entire history of the Carolingian Empire and its own (Carolingian) Renaissance, and the birth of the Papacy as a political power, among others.
  • We all do this from a psychological standpoint in our heads. It's why we are always so surprised upon returning to our "old neighborhood where nothing ever changed" and finding trees cut down or grown larger, neighbors having moved on or passed away, houses painted differently, etc. It's not that we don't expect things to change, it's just that the human brain isn't usually thinking about how things may be changing back in or old neighborhood as we move on-we're just busy with our lives where we live now, and so our memory of our old neighborhood goes into a medieval stasis of sorts.
  • The first thing a student of any discipline dealing with the past should learn, be it History, Archaeology or Paleontology, is that people have a natural tendency to see "the past" as simpler and shorter than it was. Just look at pages like Anachronism Stew, Older Than They Think, Newer Than They Think, and Briefer Than They Think.
  • There are, even today, a number of isolated societies that have never gone beyond a hunter-gatherer lifestyle, for the simple reason that the regions they live in lack native animal and plant species that can easily be domesticated in order to facilitate a shift to herding or agriculture and in most cases those areas are also not conductive of farming or herding anyway due to lack of rainfall or other factors (which is why some other group that did practice herding or agriculture never bothered to come and take the land).
  • During the union times, and before modern communication and roads, Norway came out as incredibly stable. Firearms aside, the farmlands continued to work out things after medieval fashion for centuries. Thus, iron age attitudes lasted among them all the way to 1830. In some remote areas, a proper country road or a railway was the changing factor. Natural household, as opposed to money household, was the rule rather than not in the period, as were the use of the old norse thing to settle disputes.
  • For the overwhelming majority of human existence, as "modern humans" and before, humanity used stone tools. Copper, bronze, iron, steel and more advanced technologies came in "the last 5 minutes" or so of our species' "technological clock".
    • The trope Humans Advance Swiftly is very much Truth in Television. Before the "mental revolution" in African Homo sapiens about 70,000 years ago, it was the norm for lithic industries to remain unchanged for hundreds of thousands of years, even as their makers evolved in completely new biological species.
    • Oldowan or "Mode I" tools were used both by Homo habilis, who was little more than a glorified Australopithecus, and the much more human-like H. ergaster in Africa and H. erectus in Eurasia. They appeared 2.6 million years ago and were phased out 1.7 million years ago, 900,000 years later.
    • Acheulean or "Mode II" tools were used from 1.7 million years ago to only 130,000 years ago in Africa. This makes its main development, the hand-axe, the longest used tool in all of human history.
    • Mousterian or "Mode III" tools were used by the Neanderthals of Europe from 160,000 to 40,000 years ago. A brief, enigmatic new technology known as Chatelperronian (45,000 — 40,000 years ago) has been interpreted as Neanderthal attempts to imitate the Aurignacian or "Mode IV" used by newly arrived H. sapiens. If true, this means Neanderthals were smart enough to realize their technology was outclassed upon meeting H. sapiens, yet it didn't occur to them to improve on their technology before that.
  • Finland was hit with this after being conquered by Russia. Alexander I allowed autonomy to Finland, but every change had to be approved by him. After the Diet of Porvoo Finland remained in the 18th century for fifty years.