The Quadrants of Modern Fantasy

An entertaining recent episode of Geek's Guide to the Galaxy brought up the question of how to distinguish the genre of sword & sorcery from epic (or high) fantasy. I am a sucker for this kind of discussion, and I liked the answers offered, particularly the shorthand of 'If it reminds you of Conan the Barbarian, it's sword & sorcery, and if it reminds you of The Lord of the Rings, it's epic fantasy.' The problem with this definition of course is that there are lots of fantasy books that remind you of neither (Perdido Street Station, A Song of Ice and Fire, Little, Big) and lots that remind you of both (The Wizard Knight, Wizard's First Rule). And it also relies of course on received ideas about genre that may not be accurate. There are probably not many fantasy fans who have not read The Lord of the Rings but there will be many who have not read the Conan stories, or read them very deeply, and therefore form an impression of what they are like from cliche and hearsay. 

And that's of course to set to one side the existence of other subgenres - sword & sandal; science fantasy; low fantasy; etc. - which may or may not fall outside of this rubric altogether.

Entirely as a way of encouraging debate about this Extremely Important Issue, I would like to propose an alternative model for classifying fantasy fiction that is slightly more abstract. Here, the aim is not to rigidly box off individual works into neat categories, but rather to locate them thematically in such a way that no appeal needs to be made to specific genre furniture (such as that sword & sorcery books tend to treat magic as suspect and dangerous; that sword & sorcery books tend to have anti-heroes; that high fantasy books tend to involve saving the world; and so on), which always have so many exceptions that they are pointless in defining categories.

My proposal then is that the modern fantasy genre can be divided into four quadrants, reflecting two broad axes that cut across the field and which seem to me to be important.

The first of these axes concerns the locus of the fiction: is it concerned with the fate of the individual or the world? I don't mean by this that the action is focused on one particular viewpoint character or incorporates many. Rather, I mean that there are some books that are concerned with a particular individual's (or set of individuals') struggle to find his own place in the world, and some books that are chiefly concerned with the fate of something much bigger - society, civilisation, the world itself - that tends to occupy the attention of the protagonist, 

And the second of these axes concerns what we'll call eschatology. Is there considered to be a final doom of the world, whether that is just something which is possible, or inevitable? Or is the world one of open historicity without a final cause or end? Does it just go on and on and on...?

Here, then, is a stab at plotting major fantasy works as follows:

Yes, yes, I know - Malazan Book of the Fallen. This me after I'd screenshotted the chart. What I'd like to focus on here is that this seems to group fantasy fiction in a way that does not do an injustice to important existing intuitions about what belongs where, but which also does not (I think) dwell too much on superficialities or tropes. Rather, it directs attention to certain themes which seem to my eye to transcend distinctions about substance (In Book X technology is vaguely medieval whereas in Book Y there are spaceships, etc.), and which rather concern genuine philosophical differences. For instance, it seems to me to matter that in the Bas Lag books the word as such will not 'end', whereas in The Lord of the Rings, it might, or indeed, in the fullness of time, will. And this matters much more than, say, the distinction that in the Bas Lag books technology has advanced to the steam age whereas in LOTR it has not.

You may now quibble with the existence of the axes, the places I have located the various works, and the purpose of the entire project, in the comments.