Some more thoughts:
Earlier I was arguing that fantasy is mythic-symbolic. There is the contingent material transitory impermanent world of matter. There is the eternal immaterial world of the symbolic and mythic forms. Fantasy evokes the latter. But perhaps I should have qualified I'm talking about the sensibility that magical, spiritual, 'grand canvas' fantasy, so most fantasy nowadays, 99% of it, is trying to elict, as opposed to what pulp weird tales are going for. Fantasy like Tolkien is pointless without the eternal, whether you personally believe it or not, it clearly effects audiences deeply. So the metaphysical and symbolic stuff applies most to things aiming to be lofty experiences, reveal something beyond the contingent impermenant material. So Tolkien clones, Star Wars type stuff, or grand narrative RPGs. Most fantasy today would like itself to be Tolkien, spiritually effecting, hence they are missing the target, by not even noticing the mythic-symbolic veil due to their modernist author's pure materialism, being mired in the contigent world of becoming. Seeing only the contingent world of matter is why they are obsessed with social conditions. Sauron/Orcs/Palpatine are a not real, they are symbol, and thus giving them a biographical origin in social causes (as I bet some chucklefuck at Disney would like to do for say young Palpatine), is destructive to the purpose they serve, materialising the symbolic that exists on the other side of the veil.
However, we were also talking about the importance of going back to OG pulp authors before Tolkien.
Pulp authors were not of course, trying to be Tolkien, they were lovers of weird tales, fantastical concepts, exotic destinations. Purely for the chad enjoyment of it. Robert E Howard lived in Texas, at a time when Texas was a lot closer to it's history as a place of tough frontiersmen. Frontiersmen were hardy folk, who got things done, and cared not for the illusions of civilization, but had to abide by natural reality, or they end up dying under a tractor, or bleeding out in a ditch gored by a bull.
So Conan isn't going for some lofty attempt to reveal the eternal. You are not going to find some Campbellian Hero's Journey, or a wise Yoda figure talking about spirituality. It's pure adventure. Arguably the most life-affirming valuable genre there is. He is Neitzschean if anything, like the movie suggested. But it is still pre-modern in mindset, as Neitzsche was. Conan sees the world roughly the way that some bronze-age person like Agamemnon, Meneleus, Odysseus, or Achilles do. It's on the level of survival, protecting your property. I see there being two levels to a society/civilization. The barbarian level of survival, followed by more genteel civilization, allowed by the second layer of inner spirituality built atop it. You can't have that higher layer without the bronze age foundation of survival. The first should never be forgotten, or people become impotent ivory tower types, conned by those who want their property, and severed from natural truth-reality. Conan deals with the level of pure survival, of ordering the world by slaying threats, of carving a life for yourself.
Other weird tales cover different things than a savage bronze age world, but are united by pure love of exploration; say all those tales of scientists disiscovering lost civilizations inside a hollow Earth by Jules Verne, Arthur Conan Doyle and Edgar Rice Burroughs, or planetary romance like John Carter of Venus and Carson Napier of Venus. I put together a few examples of pulp or pulp-adjacent stuff for notes a while back, I'm sure I'm missing some promiment ones:
- "Tarzan" by Edgar Rice Burroughs (1912)
- "John Carter of Mars" by Edgar Rice Burroughs (1917)
- "Cthulhu Mythos" by H P Lovecraft (1928)
- "Kull of Atlantis" by Robert E Howard (1929)
- "Conan the Cimmerian" by Robert E Howard (1932)
- "Zothique Cycle" by Clark Aston Smith (1932)
- "Doc Savage" by Lester Dent (1933)
- "Carson Napier of Venus" by Edgar Rice Burroughs (1934)
Plus, some of the movie sci-fi serials:
- "Flash Gordon" (1936)
- "Buck Rogers" (1939)
- "Commando Cody" (1955)
It's from weird tales that you get fantasy that is weirder and more exotic than the standard post-Tolkien high fantasy that now dominates Western RPGs. That quote I made of JarlFrank's, was from a JRPG thread where he was explaining that the weird settings in JRPGs like airships, Final Fantasy, Xenogears, etc, were more common in pre-Tolkien weird tales. Stuff like the Neverending Story wouldn't feel out-of-place. One shouldn't look down on the pulp as being less elevated than grand canvas fantasy. Sure a concept like a jet pack with an analogue dial is out-dated technologically; but the concept itself, of donning a war suit and fighting an alien empire, isn't. That's why people here have been talking about the importance of reading authors like Edgar Rice Burroughs, Robert E Howard and Clark Astron Smith, or watching early serials and B-movies intently. Pure Tarzan exhuberance for exploration and the exotic, is all too often missing in yet another Forgotten Realms or Pillars of Eternity type setting.
Someone already mentioned that many modern writers seem to be embarrased of genre material. It's a well known thing. Hence endless shite Netflix, Amazon and Paramount+ adaptations where the people in charge clearly have no love or respect for the original material. You can always spot a bad production, from the kind of 'changes' they have elected to make. Only through love can you create something good. You can't do something justice if you don't love it, it turns out mishapen. George Lucas, clearly, loved early sci-fi movie serials. He even named the Clone Commander who shot Obi Wan "Commander Cody". The Mandalorians are essentially all Sky Marshalls. I don't think Republic Pictures and the "Galactic Republic" is coincidence either. He also loved grander canvas sci-fi, evidenced by references to Foundation and Dune, like spice and an ecumenopolis as capital world. All he did was elevate those older pulp serials to be grander, more naturalistic, while also ingeniously giving them a non-naturalistic secondary mythological spiritual layer.
Again, the guy from the video identifies four types of adaptation, from the film scholar Thomas Leitch:
Obviously the first two are healthy, because they are done out of love. Love for the original book. Love for an older film adaptaiton. But the latter two involve contempt and subversion. If you need to "critically or ironically revise" something, why the fuck are you adapting it in the first place, other than to use it as a platform? I think you can more or less delete number 3 and nothing of value is lost.
Personally, I love the stuff that I grew up with, so repeats of 1960s and 1970s shows like Star Trek: The Original Series, Voyage to the Bottom of the Sea, and Battlestar Galactica, plus 1990s sci-fi space opera series like Star Trek, Farscape, Stargate, and Babylon 5. But being obsessive I did go back to older works, and even things like Buck Rogers, Flash Gordon and Commando Cody serials. Seeing past the technology of early sci-fi, reasoning it, justifying it in modern scientific terms, can be pretty fun too.