The Hero and the Crown

Prior to the 1980s, female protagonists were a rarity in the fantasy genre, and even when they appeared, they were seldom depicted as being physically capable and socially equal to the men. Although certain notable characters—such as Eowyn in Lord of the Rings—sometimes occupied important, near-equivalent roles, later contributions to the fantasy genre relegated women to diminished, supporting roles in the name of “realism.” The cultural dialogue at the time argued that women would not be capable of the feats typically demanded of fantasy protagonists; additionally, some argued that in settings inspired by medieval Europe, women’s behavior would be much more restricted.

Authors like Robin McKinley, Tamora Pierce, and Ursula K. Le Guin sought to deconstruct and revolutionize many restrictive conventions of the fantasy genre, including the role of women. Second-wave feminism, which began in the 1960s and continued into the late 1980s, inspired much of this development. While third- and fourth-wave feminist movements emphasized the value and power of femininity, second-wave feminism emphasized equality between men and women, arguing that women were just as capable of embodying traditionally “masculine” behaviors and roles. Characters like Aerin, who are cast as powerful warriors, came about as a result of this movement.