This rehabilitation of goblins in tabletop games has been paralleled in other forms of media since the mid-twentieth century. Televised adaptations of The Princess and the Goblin sanitized MacDonald’s novel by elevating its antagonists’ comical attributes and potential for moral redemption. Original works of fantasy literature, too, have rejected the racialist framings of Tolkien and Gygax in favor of more complicated environments. Goblins, long depicted as antagonists destined for slaughter, thus become victims of systemic oppression within the volumes of Terry Pratchett and J.K. Rowling (among others). Authors of children’s literature have similarly used the ugliness of the goblin to teach moralizing lessons about the dangers of stereotyping others. This is not to say that Tolkienian motifs have entirely disappeared. Goblins remain vile antagonists in many works of high fantasy. Alongside them, however, are more complicated creatures whose reappraisal mirrors other media that finds humanity in monstrosity. The phenomena of Goblincore and Goblin Mode, which encourage people to relate to the ugliness and weirdness of goblins as part of themselves, are extensions of this trend.