Power Struggles in Fantasy
Who has it?
As long as humans (and some beasts) have gathered and lived in groups, there have been power structures. Communities need these structures to one degree or another to survive as a community, otherwise, it's every man woman, and dragon for themselves.
In fantasy stories, power structures shape everything from royal courts, to cults, to hidden magical schools.
They shape who is allowed to hunt from the King’s forest, and who tastes his meals. Power structures not only dictate who has the Regent’s ear, but who makes the life and death decisions. They determine how societies function and how characters fight or cooperate with each other. These structures draw on real-world histories, myths, and the authors’ imaginations to create societies that can feel both familiar and wondrous. Today, we’ll look at the most common types of power structures found in fantasy, with examples from well-known works.
Monarchy and Feudal Systems
A monarchy is where one individual (e.g., a king or queen) rules, often supported by nobles (lords, ladies, dukes, barons) who control smaller regions or territories. Feudal systems rely on a hierarchy in which lower classes owe allegiance or service to those above them, usually in exchange for land or protection. Empires are created when a single ruler oversees widespread territories and people. A kingdom could be either a patriarchy or matriarchy depending on whether men or women are in power. It is encouraging to see more matriarchies in fantasy, but as a reader, I yearn for something different.
A regent is a “temporary” ruler who takes over in the event that a new monarch is a minor or otherwise incapable of ruling. Stewards are often seen in similar roles, as in the case of Denethor of Gondor in J. R. R. Tolkien’s “Lord of the Rings”. Stewards served as the chief councilor, or ruled as the representative of the king when the monarch was absent or sick, or between the death of the king and the accession of the heir.
Dynasties are formed when a single-family lineage holds power over multiple generations.
“A Song of Ice and Fire” by George R. R. Martin (1996): Various kings and queens fight for the Iron Throne, while regional lords hold power over their lands. Conflicts arise when lesser lords challenge the ruling monarchs.
“The Lord of the Rings” by J. R. R. Tolkien (1954): Aragorn’s claim to the throne of Gondor and Rohan’s feudal society highlights the importance of monarchy in shaping alliances and wars.
This structure is appealing because the tension between those who possess power and those who aspire to gain it creates natural drama and conflict.
Rule by Magic (Magocracies)
In a magocracy, those with magical abilities hold political or social power. Magic is a “currency” that sets rulers or ruling councils apart from ordinary folk.
“Harry Potter” by J. K. Rowling (1997): The Ministry of Magic governs the wizarding population, setting rules and punishing offenders. Because magic is available only to certain people, and practicable by those of an approved age, the Ministry wields authority over wizard life.
“Dragon Age” (Video Game Series): Mages are restricted by an organization called the Circle of Magi, which is itself regulated by Templars. This leads to conflict between mages who desire freedom and a religious order that fears the misuse of magic.
Such stories often explore questions of privilege, control, and responsibility when enormous power rests in the hands of a few individuals.
Religious or Theocratic Power
A theocracy is ruled or heavily influenced by religious figures who claim to represent deities or divine forces. Their authority may come from performing miracles or controlling holy institutions.
“The Wheel of Time” by Robert Jordan (1990–2013): Although not entirely theocratic, various religious and mystical organizations (like the Whitecloaks) can wield significant influence, shaping the political landscape.
“The Dragonriders of Pern” by Anne McCaffrey (1968–2001): While not strictly theocratic, there are examples of religious-like organizations (Harper Hall, various Holds) that guide moral and social laws, although the main conflict revolves around Dragonriders and “Thread.” Part of the conflict in this series arises from a wavering faith that Thread is a true menace and that only the Dragonriders and their dragons can protect Pern.
The tension in theocratic settings often arises from questions of faith, heresy, and the conflict between religious law and civil authority.
Tribal and Clan-Based Systems
Some fantasy worlds draw on cultures organized around tribes, clans, or nomadic groups. A clan is a social group, usually with ties of kinship that make it difficult for outsiders to find their place in the system. Leadership might be determined by wisdom, martial prowess, or ancestral tradition, rather than birthright inheritance. In my opinion, we need more fantasy stories with internal clan struggles. Novel, short stories or serials…they’re all game for this kind of power structure!
“Conan the Barbarian” by Robert E. Howard (1932–1936): Conan’s tribal background in Cimmeria shapes his worldview and the clan-based alliances or rivalries he encounters during his adventures.
“The Chronicles of Narnia” by C. S. Lewis (1950–1956): While not entirely tribal, groups like the talking animals often behave in clan-like ways with leaders who emerge through bravery or guidance from Aslan.
These stories highlight communal values and the often close relationship between people and their environment.
“Never forget to interrogate the power structures”
David Brin
Trade Guilds and Merchant Republics
In settings inspired by Renaissance or mercantile republics, power may rest with wealthy merchants or guilds controlling trade, crafts, or commerce. Their wealth can rival—or surpass—that of monarchs.
“Discworld” by Terry Pratchett (1983–2015): The city of Ankh-Morpork is heavily influenced by guilds (thieves, assassins, merchants), which negotiate power with Lord Vetinari, an absolute ruler who still must consider the guilds’ influence.
“The Lies of Locke Lamora” by Scott Lynch (2006): Con artists and criminal networks dominate the city of Camorr, while merchant houses control commerce. The balance of power depends on gold as much as titles.
These structures show how wealth, trade routes, and economic power can affect politics just as strongly as royal birthright or magic.
Non-Human Power Structures
Fantasy often includes elves, dwarves, or other races with distinct traditions and leadership systems—councils of elders, matriarchies, or clan chieftains.
Dwarven Kingdoms in “The Hobbit” by J. R. R. Tolkien (1937): Thorin Oakenshield’s right to rule the dwarves of Erebor is tied to ancient lineages.
Elven Realms in “The Silmarillion” by J. R. R. Tolkien (1977): Elves might have monarchs or councils of wise rulers, with decisions shaped by thousands of years of history.
This diversity of cultures often underscores themes of unity (or disunity) among different peoples in a shared world.
The “Chosen One” Prophecy as a Power Structure Disruptor
While not a form of government, prophecies that single out a person as “chosen” can disrupt or redefine who holds power. These figures can be heroes or villains who challenge rulers or lead revolutions. Their destiny is usually tied to a crucial event: defeating a dark lord, restoring balance to the world, or uncovering some hidden truth. Often, they are marked by special heritage, magical abilities, or a distinctive birthright. Sometimes the prophecy is a misunderstanding, hoax, or manipulated by those in power. The tension revolves around whether the hero is actually the savior. In Harry Potter, we are introduced, albeit briefly to the idea that it might have been Neville Longbottom who could have just as easily been The Chosen One.
“The Lord of the Rings”: Frodo, as the ring-bearer, wields enormous influence despite being a humble hobbit, and not wanting any distinction at all. In Frodo’s case, his destiny brought him more trauma and pain than joy.
“The Fifth Season” by N. K. Jemisin (2015): Certain characters possess massive earth-manipulating abilities, which places them under strict social control but also endows them with unique power to reshape the world.
Prophecies introduce moral questions about destiny and free will, and how they clash with existing rulers. They also feed the question, “What if I was the Chosen One?” The trope remains powerful because it taps into universal human themes: identity, destiny, and the longing to make a difference.
Subverting Traditional Power Structures
Modern fantasy often explores revolutions, reforms, and social upheaval. Authors tap into discontent, social inequity, and frustration by writing about peasants overthrowing kings, or societies moving away from oppressive magic laws.
Classic fantasy often centers on a Eurocentric, patriarchal viewpoint. Subverting these norms opens the door for characters from different backgrounds, with varied perspectives that resonate with a broader readership. By dismantling straightforward hierarchies, authors can explore deeper moral questions about freedom, identity, and communal responsibility.
In my current work-in-progress, “Anthem’s Ember”, a revolution is born out of hope and people tired of having their rights taken away. Yes, they need the dragons to come back for any hope of overthrowing the bitch on the throne…but anger, fear, and security can be powerful motivators.
Subverting power structures prompts readers to rethink who has authority and why. Instead of taking the old systems at face value, authors who subvert them delve into the complexities of race, gender, class, colonization, and other social forces that shape who wields power. By questioning the foundations of monarchy, organized religion, magical elites,(or even the political system in a well-established world power) authors open space for nuanced, relevant discussions on equality, justice, and human (or non-human) rights. The best subversions do more than flip tropes; they engage readers in considering how real societies might also evolve or be challenged.
Often, the most interesting stories show us worlds that do not mirror medieval Europe. They integrate African, Asian, Indigenous, or Middle Eastern cultural elements, among others, designing new power networks.
Children of Blood and Bone (2018) by Tomi Adeyemi uses West African mythologies to enrich their tale. A tyrannical king has stamped out magic—only for it to return, threatening the established order.
Whether it’s through grassroots revolutions or characters forced to break free from oppressive systems, these works remind us that power is rarely static or inevitable—it’s shaped by the choices (and often sacrifices) of the people living under it.
“A Song of Ice and Fire”: The series explores multiple factions (monarchs, rebels, religious orders) vying for power, and it often questions the idea of a single rightful king.
In “Throne of the Crescent Moon” by Saladin Ahmed (2012), Ahmed sets his fantasy in a Middle Eastern-inspired city. While monarchs and caliphs exist in the background, local power dynamics revolve around religious scholars, street-level politics, and the interplay of class and tradition. By centering on an older ghul hunter and a ragtag team, Ahmed flips the typical Western “knight’s quest” trope, showing a setting where folk magic, spirituality, and civic corruption carry just as much weight as any royal decree.
“The Broken Earth” Trilogy by N. K. Jemisin (2015–2017): Explores the social oppression of people with magical abilities and the possibility of overturning deep-rooted injustice. Instead of a simple monarchy vs. rebels storyline, Jemisin depicts a complex social order designed to control orogenes, weaving themes of race, trauma, and systemic oppression into a seismic revolution—quite literally.
These narratives reflect real-world discussions about equality, representation, and how “tradition” can be challenged to create fairer systems.
Power structures in fantasy are as diverse as the genre itself. They might be rooted in medieval feudalism, religious authority, clan-based leadership, or outright magical rule. Some are static, while others evolve—or even collapse—throughout a series. By examining these structures, readers and writers not only discover how power shapes fictional worlds but also gain insights into the human condition and our own societies.
From the feudal webs of A Song of Ice and Fire to the magical hierarchies in Harry Potter, each approach to power affects the choices characters make and the conflicts they face. Understanding these systems creates deeper engagement with fantasy stories—whether we want to cheer for the true king, hope for a chosen one to fulfill a prophecy, or watch a grassroots revolution change the course of history.
I hope you enjoyed this exploration of power in fantasy fiction. I know I did!
Tell your fantasy-reading friends about An Enchanted Life, won’t you?
Wishing you a fantasy-filled life,
Carolyn
References
Howard, R. E. (1932–1936). Conan the Barbarian [Short Stories]. Various publishers.
Jemisin, N. K. (2015). The Fifth Season. Orbit.
Jordan, R. (1990–2013). The Wheel of Time [Series]. Tor Books.
Lewis, C. S. (1950–1956). The Chronicles of Narnia [Series]. Geoffrey Bles.
Lynch, S. (2006). The Lies of Locke Lamora. Bantam Spectra.
Martin, G. R. R. (1996). A Game of Thrones. Bantam Spectra.
McCaffrey, A. (1968–2001). The Dragonriders of Pern [Series]. Ballantine Books.
Pratchett, T. (1983–2015). Discworld [Series]. Various publishers.
Rowling, J. K. (1997). Harry Potter and the Philosopher’s Stone. Bloomsbury.
Tolkien, J. R. R. (1937). The Hobbit. George Allen & Unwin.
Tolkien, J. R. R. (1954). The Fellowship of the Ring. George Allen & Unwin.
Tolkien, J. R. R. (1977). The Silmarillion. George Allen & Unwin.
Excellent article about fantasy world power structures, Carolyn!