Marandahir
Crown-Forester (he/him)
A few things:
Much of the Fairy Tales, Folklore, Myths, and Legends that we know today had morals grafted onto them by their collectors and redactors. The Brothers Grimm were not some exception to this. They had an editorial intent to publish a collection of tales that spoke to what they saw as the specifically Deutsch character, as part of a larger Nationalist movement. They sit very much on the Romantic side of the Romanticism vs Enlightenment debate that lies at the core of many of the arguments this thread has engaged in. But the tales themselves do not possess an inherently "Romantic" quality, and they themselves predate the morals. Same thing with Biblical narratives - the authorship differs between say, the parables and the framing of the parables describing what the parable means.
This is important when we talk about the roots of Fantasy. Fantasy is not a story of morals at its heart. It's a venture into Faërie - into the perilous unknown, where the laws of the universe don't necessary apply. This CAN mean that you need to follow traditions if you are to survive in a Fairy Tale, but just as often you need to break from the traditions and warnings and use your own wit. Belle has to learn to love the Beast and see his inner goodness to save her father. Bluebeard's wife needs to trust her gut and escape a psychopathic murderer-husband. But both of these closely-related stories have a number of morals grafted onto them over the years, which don't necessarily follow with the actions of the characters.
I highly suggest reading Tolkien's "On Fairy-Stories" for a good lesson on what the genre of Fantasy is and where its boundaries are. Tolkien never finished the Silmarillion because he started trying to make his Fantasy conform to newly learned Astrophysical science of the time and began to doubt the whole purpose of his mythology (he wanted to throw out the flat earth-made-round narrative as well as the world before the rising of the sun; these are both quite fantastical ideas that are diminished as he tries to retrofit them into the current understanding of Earth, given that he was supposing a mythic past for our current world). Down that road he was heading, the entire Mythology collapses and this deeply troubled the man to his dying days. It's an attempt to graft elements of science fiction upon the fantasy, and for Tolkien, once he started going that route, it caused ripple headaches throughout the body of work.
Fantasy need not be set in a mythic or medieval past. Urban Fantasy is a very popular subgenre that deals with the fantasy races, magic, the paranormal, psionics, ghosts, monsters like vampires & werewolves, and the occult, but in an otherwise modern, urban setting. But it still retains the essential idea of Fantasy: that this is inherently unknowable territory. We are not in a world that might one day be. We are beyond the threshold of reality and where we go, we must take caution. There may be rules but they do not conform to the rules of our universe.
What does this mean for Psionics? Of course it's a fantasy concept. It TENDS to show up in fantasy with settings that are otherwise rough analogues to the 1800s-onward toward the future, after the Scientific Revolution and the Enlightenment in Europe - as others have discussed. It's a form of magic related to disciplines that were at a given time still mysterious while other sciences marched on.
I love the Psionic Talent dice mechanic. I'm not wedded to these these subclasses or a Psion class or lackthereof.
Much of the Fairy Tales, Folklore, Myths, and Legends that we know today had morals grafted onto them by their collectors and redactors. The Brothers Grimm were not some exception to this. They had an editorial intent to publish a collection of tales that spoke to what they saw as the specifically Deutsch character, as part of a larger Nationalist movement. They sit very much on the Romantic side of the Romanticism vs Enlightenment debate that lies at the core of many of the arguments this thread has engaged in. But the tales themselves do not possess an inherently "Romantic" quality, and they themselves predate the morals. Same thing with Biblical narratives - the authorship differs between say, the parables and the framing of the parables describing what the parable means.
This is important when we talk about the roots of Fantasy. Fantasy is not a story of morals at its heart. It's a venture into Faërie - into the perilous unknown, where the laws of the universe don't necessary apply. This CAN mean that you need to follow traditions if you are to survive in a Fairy Tale, but just as often you need to break from the traditions and warnings and use your own wit. Belle has to learn to love the Beast and see his inner goodness to save her father. Bluebeard's wife needs to trust her gut and escape a psychopathic murderer-husband. But both of these closely-related stories have a number of morals grafted onto them over the years, which don't necessarily follow with the actions of the characters.
I highly suggest reading Tolkien's "On Fairy-Stories" for a good lesson on what the genre of Fantasy is and where its boundaries are. Tolkien never finished the Silmarillion because he started trying to make his Fantasy conform to newly learned Astrophysical science of the time and began to doubt the whole purpose of his mythology (he wanted to throw out the flat earth-made-round narrative as well as the world before the rising of the sun; these are both quite fantastical ideas that are diminished as he tries to retrofit them into the current understanding of Earth, given that he was supposing a mythic past for our current world). Down that road he was heading, the entire Mythology collapses and this deeply troubled the man to his dying days. It's an attempt to graft elements of science fiction upon the fantasy, and for Tolkien, once he started going that route, it caused ripple headaches throughout the body of work.
Fantasy need not be set in a mythic or medieval past. Urban Fantasy is a very popular subgenre that deals with the fantasy races, magic, the paranormal, psionics, ghosts, monsters like vampires & werewolves, and the occult, but in an otherwise modern, urban setting. But it still retains the essential idea of Fantasy: that this is inherently unknowable territory. We are not in a world that might one day be. We are beyond the threshold of reality and where we go, we must take caution. There may be rules but they do not conform to the rules of our universe.
What does this mean for Psionics? Of course it's a fantasy concept. It TENDS to show up in fantasy with settings that are otherwise rough analogues to the 1800s-onward toward the future, after the Scientific Revolution and the Enlightenment in Europe - as others have discussed. It's a form of magic related to disciplines that were at a given time still mysterious while other sciences marched on.
I love the Psionic Talent dice mechanic. I'm not wedded to these these subclasses or a Psion class or lackthereof.