History Main / AntiEscapismAesop

** The game also creates some low-key FridgeHorror when the party eventually fights an enemy party of zombies names after Mewt's bullies from the start of the game, implying that while Marche and his friends have everything they've ever wanted in Ivalice, not everyone is so lucky.

* ''WebOriginal/TheInterfaceSeries'': The future Atlanta plot-line takes place in a {{cyberpunk}} dystopia where people spend all their time in Hygiene Beds, virtual reality devices which hook them up to a {{Cyberspace}} internet to play out video game-like experiences. The plot describes how this has led to the occupants becoming so detached from reality that they frequently wind up sitting in their own filth and need medical attention to get them out. This apathy has allowed an EldritchAbomination called Mother/Q to TakeOverTheWorld unopposed, using the pods to assimilate all life into herself, and the rebels are unable to mount an effective resistance because the people would rather just stay in their little fake worlds. [[spoiler:Even after Q has destroyed most of humanity, the survivors choose to flee to space and spend the rest of their lives in more virtual reality than bother to fight back.]]

* The whole point of the extremely short free visual novel ''Carpe Diem'' on UsefulNotes/{{Steam}}. It's a typical example of the genre, but it's hinted that the girl "you" are going on a date with hides some secret. [[spoiler:The player character is not "yourself", the player, but a genius programmer, and the girl is an advanced AI he created.]] The punchline is, [[spoiler:as much as he tries to make her as human-like as possible, she will never actually be, so it's better to pursue actual human relationships instead of retreating to a fantasy world.]] Tellingly, the lone achievement is named "What are you doing with your life?".

* ''Literature/WelcomeToTheNHK'' has this as a main theme, but played more realistically. [[LoserProtagonist Sato]] is an [[{{NEET}} unemployed]], [[{{Otaku}} nerdy]] [[{{Hikikomori}} loner]] who basically has no life, and constantly retreats into escapist media and his convoluted daydreams. The toxic nature of his socially isolated personality is especially demonstrated when he becomes addicted to an online computer game at one point, and even develops a crush on a ''fictitious female character'' [[spoiler:(who turns out to be his ''[[{{GIRL}} male friend]]'')]]. Sato's friends constantly try to help pull him out of his unsocial behavior, with awkwardly mixed results. The show also introduces another {{Hikikomori}} character who buries himself in escapist hobbies, and the one thing that finally puts an end to this behavior is his sister (the one person in his life supporting and enabling him) going to prison for a while, [[SurprisinglyRealisticOutcome forcing him to go out into the real world and get a job if he wants to survive]]. [[spoiler:This eventually happens to Sato himself when his father loses his job, and his parents can't afford to financially support him anymore.]]

* ''VideoGame/SINoALICE'' ends up touching on this aesop in the ending made exclusively to close off the Taiwanese server: [[spoiler:Library, and by extension the entire events of the game are revealed to be [[AllJustADream a fantasy Alice created in class]] to cope with what has transpired in her real life. The ending has Alice finally succumb to her DetrimentalDetermination, forcing Parrah and Noya to intervene by giving the player a key symbolizing the concept of hope to allow Alice to finally wake up and carry on with her life - [[DreamApocalypse destroying everything in Library in the process]]]].

* This forms the resolution of all three stories in ''ComicBook/TheEternalSmile''. Duncan's fantasy world turns out to be him having AdventuresInComaland, but he realizes he needs to wake up for the sake of his mother, even if he's a hero in his dreams and a loser in real life. Gran'pa Greenbax gives up his fame, riches, and intelligence in a fabricated world for life in reality as a humble pond frog, the one thing he really wanted all along. Janet comes to terms with the fact she's willfully sending money to a FourOneNineScam as a coping mechanism for her miserable life and decides to end the charade in favour of actively bettering her real life.
* In ''ComicBook/HouseOfM'', absolutely no one suggests that if a RealityWarper has created a world which is arguably better (yes, baseline humans are second-class citizens, but there's not really any suggestion they're ''mistreated'', and they seem to be better off than mutants are in regular continuity) and where most of the main characters are happier, maybe they should leave it alone. The crossover issue of ''ComicBook/{{Exiles}}'' shows the darker side of the setting: non-mutants have basically no rights and innocent people are routinely killed by Sentinels simply for failing to get out of the way fast enough during a manhunt.
* ''Franchise/SpiderMan'': In ''ComicBook/OneMoreDay'', Peter Parker meets an overweight version of himself from a timeline in which he didn't gain his powers; instead, he channeled his anger inwardly and became a video game maker. Fat Peter rants, "We couldn't get the world we wanted, [[TakeThatAudience so we had to make a world we liked]]". [[WebVideo/AtopTheFourthWall Linkara]], in his review of this in his 200th episode, found it to be hypocritical and offensive based on the fact that comic books by their very nature are based on escapism.
* ''ComicBook/TheUnbelievableGwenpool'' seemed to be setting this up: Gwen literally escaped into the Marvel universe from the "real world," but nearly all of her adventures were about her struggles and messing up. When she's forcibly returned to her world in issue 16, we see how miserable she is, and why she fled to her comics in the first place. Her brother stops her and convinces her to live in the real world, assuring her that she can turn her life around and be with the people she loves. [[SubvertedTrope Subverted]] in the next issue, where Gwen is shown to be ''miserable'' in her world even after it improves, and immediately jumps ship to Earth-616 when she can. This gets twisted further in later issues as it morphs into not only InDefenceOfStorytelling but outright in defense of ''responsible'' storytelling, which could be read as SelfDeprecation so easily (kicking off [[CrisisCrossover Summer events]] just for the heck of it could be a bad thing you say?).

* While this is not the primary Aesop of ''VideoGame/KemonoFriendsexe'' (that being how HumansAreBastards who claim to love animals, yet exploit them to the point of extinction), throughout the game, the animal friends [[NoFourthWall tell you several times]] that you should return to your own world instead of keep on destroying theirs. This happens again during the GoldenEnding, where Serval tells you to uninstall the game and go out there and enjoy the world, and how even though you can never meet again, you'll be the best of friends forever. If you decide to run the game again, [[HappyEndingOverride however]]...

* ''Anime/NeonGenesisEvangelion''. [[ReluctantHero Shinji]] [[ClassicalAntiHero Ikari]] occasionally tries to avoid his interpersonal problems and self-loathing, and at one point he even says, "What's wrong with running away from reality if it stinks?!" The show makes it apparent that trying to avoid problems will not make them go away. The TV series closes with Shinji [[spoiler:bravely, categorically, and specifically facing each one of his emotional and mental issues, alongside Misato and Asuka, with depictions of friends made previously honestly communicating with them every step of the way.]] ''[[TheMovie The End of Evangelion]]'', however, depicts a world where Shinji [[spoiler:avoids facing these issues, instead initiating Instrumentality, a process by which all of Earth's population is merged together as one singular whole]]. Ultimately, however, Shinji (through a series of hallucinations and conversations) comes to the realization that [[spoiler:endlessly running away from human interaction and the hardships of life is no solution, and that merging everybody so that there's no more pain is an easier, but ultimately worse solution. He thus chooses to undo Instrumentality, returning as his own individual self, and allowing for anyone else who chooses to do so to come with him (though the only one we see before the credits roll is Asuka)]].

* Invoked and exploited by the GreaterScopeVillain of ''Anime/DragonQuestYourStory'', [[spoiler:some {{Jerkass}} hacker who created a virus and placed it in the ''Dragon Quest'' VR game network with the objective of pausing games right at the most climactic moment, explaining to the player what is going on [[Film/TheMatrixReloaded Architect-style]], make the player go into shock at TheReveal that the world isn't real (the game specifically blocks these memories for maximum immersion) and then kick them out of the game before deleting everything. TheHero (alongside the game's anti-virus) kicks the virus' ass as he makes clear to the program that ''Dragon Quest'' may be fantasy, but he still enjoys it.]]

* ''Anime/MartianSuccessorNadesico'' goes about it in an odd way (and it could even be said it's more of a SpaceWhaleAesop): the villains of the story, the Jovian Lizards, are in reality [[spoiler: a group of left-behind human colonists from the future, who got access to advanced technology, time travel]] and who have moulded their society around an InUniverse old-school SuperRobot anime that the protagonists are also fans of because it was the only entertainment they had on hand. However, while the good guys can keep their head straight about the show, the Jovians' fanaticism of the show mutated into BlackAndWhiteInsanity, with them (and the show's ideals) as the "white" side and humanity (and all of the moral grayness it (and reality) has) as the "black" side. [[spoiler: And when a GeneralRipper rose amongst their ranks, all he needed to do was keep the insanity going in order to satisfy his bloodlust]]. The final scenes of the show have the characters tell the aesop straight and with pile-driving seriousness: stop taking Anime so god-damned seriously (or at least so seriously that you pull an IRejectYourReality).

* The big reveal of ''Anime/SSSSGridman'' is that the heroes' world is [[spoiler:Akane's grounds for escapism. Her current looks are the result of trying to make a SexierAlterEgo; her terrorizing the city and anyone who pisses her off is a means of stress relief; and the citizens are programmed to love everything about her, contrast to her seemingly lonely real life. The finale has Gridman and company try to heal her heart so she can face reality head on instead of wallowing in her own self destructive habits.]]

* A main theme in ''{{WesternAnimation/Coraline}}''. The title character is a little girl who is bored and depressed after moving to a new house in an unfamiliar land, and being ignored by her [[ParentalNeglect inattentive parents]]. She discovers a [[DownTheRabbitHole portal to an alternate dimension]] that looks like her own, except (seemingly) perfect. But of course, not only is it [[CrapsaccharineWorld really too good to be true]], it's actually a [[ItMakesSenseInContext death trap designed by a demonic witch who wants to eat her soul]]. After escaping alive, she learns to appreciate the real world and be grateful for her actual family and friends.

* The movie ''Film/HeavenlyCreatures'' involves two girls escaping from the harsh reality they live in by creating an imaginary kingdom - this trope comes into effect when one of the girls starts showing signs of insanity and becomes more and more obsessed with the imaginary world to the extent of everything else. [[spoiler: Even her parents' lives.]] [[VeryLooselyBasedOnATrueStory This is a pretty significant divergence from the events the movie was based on]], as such claims were part of InsanityDefense that was pretty quickly rejected. Rather, the girls were obsessed with ''being together''; the imaginary world was only the setting for their novels and their "Fourth World" religion was deeply serious.
* ''Film/StarTrekGenerations''. Captain Kirk has been trapped inside the Nexus (a LotusEaterMachine where all of his desires are fulfilled) for 78 years. Captain Picard arrives and tries to convince Kirk to leave. Kirk is finally convinced [[NoChallengeEqualsNoSatisfaction when he makes a dangerous jump on his horse and realizes that he didn't feel any fear]]. This leads to the epiphany that he's living in a world without consequences, which means that nothing he does matters. He leaves because he wants to make a difference again.
* ''Film/TronLegacy'' ends with the protagonist bringing Quorra (a unique lifeform, neither Program nor human) from The Grid into the real world. They ride into the sunrise on a motorcycle with her smiling, implying that she is amazed by the beauty of the real world. The virtual world ''inside'' the machine, the basis of his childhood stories and his father's life's work, is a visually-stunning nightmarish cyberpunk hell, run by [[ANaziByAnyOtherName an Administrator obsessed with perfection who exterminated all of Quorra's people]]. He meets ''no'' friendly Programs, [[spoiler: even the great User-Believer Champion is a brainwashed attack dog on Clu's leash, and the whole thing ends with Flynn the Elder committing murder-suicide by destroying Clu and himself, ultimately proving his dream of Program and Human cooperation futile.]] An especially puzzling and cynical (especially for Creator/{{Disney}}!) case, since it completely inverts the message of the first film.
* {{Subverted| trope}} in ''Film/ThePurpleRoseOfCairo''. Cecilia, who's been swept up in a romance with [[RefugeeFromTVLand movie character come to life]] Tom Baxter, declines to live with him in a fantasy world when Gil Shepherd, the actor who played him, says that he loves her too. Except Gil was lying and returns to Hollywood without her, and Cecilia has no choice but to return to her abusive husband.
* Played straight at first, but then later subverted, in ''Film/BenX''. The autistic protagonist spends a lot of time in an online game. There are occasions when game and reality merge for him, and he even builds a weapon from the game in real life. However it is always clear that the real problem is the heavy bullying he gets in school, and it seems like without the game world to escape into, he would have snapped in real life much sooner. Later, he [[spoiler:develops an imaginary girlfriend, who seems to be real at first and is revealed as imaginary at the end in a TomatoSurprise]]. Nobody implies that this is bad, and it clearly makes him much happier.
* This is the ''In-Universe'' Aesop of ''Film/ReadyPlayerOne'', much like the book it was based on. While finding each challenge required understanding [=OASIS=] creator's James Halliday's passions, ''solving'' them required learning the lessons Halliday spent his whole life avoiding until the very end; Not to get so swept up in nostalgia that it consumes your life, don't be afraid to seek love, and never push your friends away when they are trying to help you. [[spoiler: Main character Wade Watts takes this to heart when he wins ownership of the [=OASIS=]. He gives partial ownership to his FireForgedFriends, and makes a mandatory shut-down on at least two days a week so players will have to take a break and live life.]]
** Ultimately, though it is a bit of a BrokenAesop since by the time it's driven home, [[spoiler:Wade already got friends, a girlfriend, and loads of money exactly because he obsessively pursued the contest and studied all of Halliday's favorite things to win it. By the time he's gotten over his addiction to fantasy, his addiction to fantasy has set him up with everything he needs to coast through real life instead of making him brave enough to face its shortcomings and difficulties]].

* ''Film/MarieAntoinette2006'' portrays the titular princess (and later queen) as a bored young woman who ends up indulging in parties, gambling and all sorts of frivolity just to amuse herself. She even has a section of the palace gardens constructed like TheThemeParkVersion of a farm to live out a game of what she believes country life is like. This extravagance and her detachment from what's actually going on in France is one of the many reasons the revolution happens to overthrow the monarchy.
* ''Film/TheLovelyBones'' more so than the book. While Susie is in the In Between, she and Holly create a spectacular fantasy world for themselves where they can do whatever they want. But it's ultimately shown to be shallow escapism, and Susie's refusal to move on to {{Heaven}} parallels her family's inability to continue to live their lives after her death.[[note]][[https://en.wikipedia.org/wiki/Emanuel_Swedenborg Emmanuel Swedenborg]], a scientist, scholar and inventor, had visions of the afterlife that bear out this idea; after death we spend time in different states, graduating from one to another as we feel ready.[[/note]]

* A ''Series/DoctorWho'' story had the Doctor and Martha arrive at what they think is an underwater colony (they think it is underwater because they are in a structure surrounded by water and lots of sea life). They soon discover that this is not true -- what they are seeing outside the structure is nothing more than a projection and the truth is the planet they are on is barren and in a wrecked state. The Doctor, Martha, and a boy they meet agree that the humans in the colony ought to know the truth and the boy deactivates the projection.
* The "reality has changed" type is found in Joanne Greenberg's autobiographical ''Literature/INeverPromisedYouARoseGarden''. Deborah actually isn't insane because she [[CannotTellFictionFromReality spent too much time in her imaginary world]][[note]]a lot of people think this on first or casual read[[/note]], or because [[TrueArtIsAngsty she's a gifted artist]][[note]]one of the reasons she wrote the book was to debunk this idea; she's said many times "There is no creativity in madness; madness is the opposite of creativity, although people may be creative in spite of being mentally ill."[[/note]]. These things ''saved'' her innate sanity. But after a childhood beset with agonizing surgeries (accompanied by LiesToChildren), vicious anti-Semitic bullying, soul-crushing parental expectations, her own BrutalHonesty and difficulty with the dishonesty involved in social skills, she remains true to her imaginary world even when it causes her intense pain. As conditions improve in the real world, her allegiance is repeatedly tested, and it is this conflict which causes her "insanity". [[note]]There's been some debate that Greenberg was not schizophrenic, but had extreme depression and [[https://en.wikipedia.org/wiki/Somatization_disorder somatization disorder]]. However, ''she'' says she was schizophrenic, and [[https://www.youtube.com/watch?v=edaxwaiIrQU there was much more to her illness]] [[https://lithub.com/what-it-took-to-finally-write-honestly-about-my-mental-illness/ than what you read in the novel.]][[/note]] The doctor acknowledges that reality has been very bad to her but she needs to trust that things have changed and that she can even make the world better.
* Curiously enough, Creator/ZilphaKeatleySnyder deals this trope at the end of many of her stories. Robin in ''Literature/TheVelvetRoom'' uses the said room for reading and daydreaming, but is forced to give it up at the end and comes to believe that it never was the enchanted sanctuary she had made it. Martha in ''The Changeling'' decides to "shut the door" on her childhood with its "endless daydreams". At the end of ''The Gypsy Game'', the sequel to ''Literature/TheEgyptGame'', all six children decide to abandon sustained imaginative games and take on adult responsibilities.
* The short FairyTale ''The Mirror of Dreams'' has a lonely girl called Polly envying the local RichBitch Cordelia, but then discovering the titular mirror - which shows her visions of whatever she wishes. For months, she sits in front of the mirror and dreams. But she eventually realises how empty this is, and throws the mirror away. She ends up getting to know Cordelia, learning that the girl has problems of her own, and the two become friends.
* Deconstructed, ''hard,'' in Don Robertson's[[note]]Best known for ''The Greatest Thing That Almost Happened''[[/note]] ''Victoria at Nine'' (subtitled ''A Fable for Adults''). Victoria, the mini-ProperLady daughter of a politically active minister, is highly sensitive and mostly silent. She's aware of reality, just deals with it in her own ways, including conversations with [[AnimateInanimateObject Animate Inanimate Objects]], [[CompanionCube dolls and soft toys]]. Her FantasyForbiddingFather is constantly at her about it, including ''publicly in his sermons''. Victoria is all too aware of other values she's learned from him, like ''justice''. She disobeys a flighty, self-important teacher who has [[LiesToChildren lied to the class]][[note]]Victoria opts out of an activity the teacher has said was "optional", and the teacher tries to force her into it[[/note]] using a shopworn insult. Her father forces her not only to apologize, but to promise to embrace reality and stop "nonsense conversations with things that don't exist". Then he has the nerve to preach a self-congratulatory sermon about it. Furious, and determined to conceal it, she secretly ''buries'' her toys and does her best to excise her interior life. Fortunately, a conversation with the Sunday school teacher and another with a china owl leads her to a [[OOCIsSeriousBusiness lengthy, impassioned declaration]] that while she loves her parents, she cannot keep her promise. Amazingly, her father actually ''hears her'' and takes her home immediately to restore her world.
* The point of the second half of ''Literature/TheNeverEndingStory'', albeit in a more subtle and allegorical fashion that most other examples: After Bastian arrives at Fantastica and gives the Childlike Empress a new name to revitalize her, she gives Bastian the AURYN, a magical artifact that can grant any number of wishes in the hand of a human. Naturally, Bastian, being an overweight, lonely and bullied kid who lives with an aloof father still grieving over the death of Bastian's mother, decides to stay in Fantastica forever and uses the AURYN to turn himself into an idealized version of himself, creates adventures for him to feel like a hero, and eventually gets drunk with power and tries to take over Fantastica. Bastian later discovers that every time he uses a wish, he loses a memory of his past life (which is a very blatant allegory of people slowly losing their sanity as they delve deeper into make-believe worlds), and finds a place called "The City of Old Emperors" inhabited by other humans who, like him, were also called by the Childlike Empress to grant her a new name and were given the AURYN, but also went mad with power and tried to take over the world, until they ran out of memories and became [[EmptyShell barely sapient shells of their former selves]] (an allegory of people who completely lost their minds beyond repair). In order to avoid such a fate, Bastian uses the last few memories he still has to find a way back to his world. With his adventure over and memories restored, Bastian decides to face his problems, including helping his father moving on from his grief.

* {{Subverted|Trope}} in ''Series/BabylonFive''. Since character Marcus Cole died before he could have a real relationship with Susan Ivanova, a 'happy end' was later added for the two in Extended Universe: he wakes up out of cryogenic suspension hundreds of years after the end of the series, creates an exact clone of Ivanova (the real one being long dead) and lives with the clone happily ever after... yeah.
* ''Series/OnceUponATime'' pulls this off subtly by deconstructing [[EscapistCharacter one of the most iconic characters when it comes to escapism]]: Peter Pan. He is, prior to his life in Neverland, a washed up, down on his luck guy who had to care for his son. Long story short, the two ended up in Neverland where the only permanent resident there, a shadow that'd eventually become ''Pan's'' shadow, tells Pete that he's grown up and shouldn't be escaping to Neverland anymore. He, fitting the fourth item on the list of how to point out that the escapism is bad, ditches his son in a deal to restore his youth and live in Neverland. [[spoiler:Right afterwards, the Shadow points out that now he'll undergo item three, slowly dying, as Neverland was meant to be a place to ''visit'', not stay]].
* An interesting case in the ''Series/PhilipKDicksElectricDreams'' episode "[[Recap/PhilipKDicksElectricDreamsS1E5RealLife Real Life]]", where the story alternates between a billionaire CEO named George (Terrence Howard), a straight black man in a slightly futuristic setting, and a lesbian white police officer named Sarah (Creator/AnnaPaquin) in a distant future. Both use experimental VR technology to escape a trauma in their lives. However, the longer it goes on, the more each starts to suspect that their world is the simulation, doubting their own reality. [[spoiler:In the end, they choose the less futuristic reality, which turns out to be the wrong choice, as Sarah is the real person, whose life is ''much'' happier than George's. Sarah's wife realizes that Sarah couldn't cope with SurvivorGuilt and subconsciously wished to be punished. As a result, Sarah is left brain-dead, perpetually plugged into a machine and living out her new crapsack life as George.]]
* Zigzagged throughout ''Series/{{Caprica}}'', where "V-world" holobands are often used by many bored people. WiseBeyondTheirYears high schoolers Zoe Graystone and Lacy Rand regard its use to simulate {{Blood Sport}}s, HumanSacrifice, and WretchedHive crimeworlds as evidence of the decadence of Caprica society, and many of its users are shown to be overly dependent on it. However, this leads into a confused aesop about the creation of new life, as Zoe has used V-world to build a perfect digital copy of herself which replaces her after her death in the pilot, leading into yet another confused aesop when monotheists plan to use it to create life after death for believers. At the end, [[ReplacementGoldfish Zoe's parents visit their dead daughter's avatar regularly]], turning the whole thing into a LostAesop.

* The main theme of ''Music/TheWall'', although more recent performances focus more on the political messages instead.
* "Brick By Boring Brick" by Music/{{Paramore}} is about trying to break a woman out of her idealistic fantasies by showing how it's better to just face reality.

* Takeaki Wada / Kurage-P's "Odore! VR Dance!" concerns a girl who uses virtual reality as a way to take her mind off of the stifling reality she has to deal with and indulge in activities like dancing and playing around where she couldn't before. However, the adults don't like this new teen phenomenon-- but to the singer's horror she discovers that they're ''also'' using toxic escapism, in their case massive amounts of nostalgia. She then comments that "not a single person remains" in reality, having escaped into their personal mental havens.

* ''VideoGame/ShadowrunReturns''. In the Dragonfall campaign, you can regularly talk to "[[MeaningfulName Simmy]]" Kim, a woman who is addicted to a "Better Than Life" sims. She will eventually tell you that [[spoiler: she got hooked on them at the advice of Monika as a means of coping with having suffered a miscarriage that left her sterile]]. [[VideoGameCaringPotential You can help wean her off of them]] by being supportive.

* Minor example in ''VideoGame/FinalFantasyX''. In Guadosalam there is a place called the Farplane, where people can go and see images of their loved ones - and many go there just to stand and talk to the image as if the person were still alive. Rikku isn't interested in going, saying she knows the person isn't really there, and she prefers just going through her own memories - as they bring her more pleasure, because they're of something that actually happened.
* In ''VideoGame/FinalFantasyXIII2'', Serah finds herself in a closed world shaped by her own desires. In this world, her sister Lightning never disappeared, her fiance Snow never left in search of said sister, their two lost friends Fang and Vanille will soon be saved from crystal sleep, and everything is pretty great all-around. But, this is all just a dream. Serah has a choice of either accepting this fake world, or face reality and go back to the people who still need help (her new friend Noel included).
* While this is not the primary Aesop of ''VideoGame/KemonoFriendsexe'' (that being how HumansAreBastards who claim to love animals, yet exploit them to the point of extinction), throughout the game, the animal friends [[NoFourthWall tell you several times]] that you should return to your own world instead of keep on destroying theirs. This happens again during the GoldenEnding, where Serval tells you to uninstall the game and go out there and enjoy the world, and how even though you can never meet again, you'll be the best of friends forever. If you decide to run the game again, [[HappyEndingOverride however...]]
* This is pretty much ''the'' overarching theme of ''VideoGame/EternalSonata'' in which, on his deathbed, the classical composer Frederic Chopin finds himself in a world that is his dream. There, he meets strong individuals who help him to face the hard truths of life head-on.
-->'''Jazz''': We can never turn back time. Even if such a thing were possible, I wouldn't want to. Because it would only be a negation of the choices made by the friends who've died along the way.
* This is the central theme of ''[[VideoGame/Persona5 Persona 5 Royal's]]'' third semester. The AntiVillain wants to create a "perfect" world where everyone has their desires granted and never has to feel pain or loss ever again. But this also means that the world is a static GildedCage where no one ever learns anything or experiences personal growth ever again. It's even implied it would lead to the end of humanity due to erasing everyone's collective need to pass things on to the next generation, let alone even give birth to new lives. After all, if everyone was already satisfied with their lives, they wouldn't have to make more children.
* ''VideoGame/MoonRemixRPGAdventure'' ends with this message. The only way to win the game is to quit after the Hero wipes out everyone, freeing yourself and everyone else in Love-de-Gard from the game's grasp.
* The ultimate message of ''VideoGame/{{Omori}}''. The game mostly takes place in Sunny's MentalWorld, Headspace, where mostly everything is happy. But in the real world, Sunny is a depressed {{hikikomori}} who uses Headspace as an escape from his depression. The best ending the game has to offer can only be obtained by actually going out of your house and reconnecting with your friends, so that everyone can face the AwfulTruth and overcome their inner turmoil together. Staying in all the way till Moving Day expands the amount of Headspace content you get, but it will all lead to [[spoiler:Omori [[SplitPersonalityTakeover taking over Sunny]], blinding himself to the AwfulTruth that he accidentally killed Mari, and not really solving anything while Basil kills himself]].
* ''VideoGame/SINoALICE'' ends up touching on this aesop in the ending made exclusively to close off the Taiwanese server: [[spoiler:Library, and by extension the entire events of the game are revealed to be [[AllJustADream a fantasy Alice created in class]] to cope with what has transpired in her real life. The ending has Alice finally succumb to her DetrimentalDetermination, forcing Parrah and Noya to intervene by giving the player a key symbolizing the concept of hope to allow Alice to finally wake up and carry on with her life - [[DreamApocalypse destroying everything in Library in the process]]]].
* Very ironically for a game that emphasizes the power of creativity as part of its central gimmick, the first two ''VideoGame/DrawnToLife'' games have this theme running deeply through its HiddenDepths. [[spoiler:The entire plot of the first two games and the saccharine setting in which they take place in is revealed to be a daydream of the real-world human Mike, who was knocked into a coma by a car accident that killed both of his parents.]] The villain of the series is a delusional WellIntentionedExtremist who sees it as his duty to preserve the fantasy world ([[spoiler:Mike's dream]]) no matter what--his name is literally pronounced "will-free." [[spoiler:Ultimately the only way for Mike and his grieving sister Heather is for Mike to wake up and face his reality]], a symbol that ''The Next Chapter''s'' final song, "Real Life"; the series' composer David J. Franco sums up the themes "Real Life" relays as "you need real tangible things in your life. That's the meaning."

* Zig-zagged in ''VisualNovel/UminekoWhenTheyCry''. [[spoiler:Sayo Yasuda]]'s escapism (i.e creating numerous {{Imaginary Friend}}s [[spoiler:and creating at least three different identities with completely different personalities because they hated themself so much]]) is pretty much the only way they made it through much of their childhood, and a repeated point is how delusions and escapism serve as coping methods for much of the cast - in some cases even helping them develop their greatest strengths. But it comes back to bite [[spoiler:Sayo]] in the rear later when the things they try to escape from become too great to completely ignore, and they even suggest that they regret having used escapism at all in one of their final lines to Lion - "I pray that you live as a human, without awakening as a witch."
* Ends up being a theme in ''VisualNovel/HatofulBoyfriend Holiday Star'', where a spirit has built a pocket of the afterlife ForHappiness - but the thing is if anyone wants to leave or ''isn't'' happy, they get [[AssimilationPlot assimilated]] and ''[[GettingSmiliesPaintedOnYourSoul made]]'' happy. And if they're not actually dead, well, clearly they've got to be killed so they can stay. Escapism and forgetting any bad memories is the lure the ruler puts out to get people to agree to stay.

* ''Webcomic/TheOrderOfTheStick'': Roy, Haley, and Elan are briefly trapped in an illusion in Girard's pyramid where they defeat all of their enemies and all of their longstanding goals transpire. They only break out when Elan realizes [[spoiler:that many of his dreams are childish juvenile desires that aren't realistic...and yet they seem to have happened anyway]].

* ''WesternAnimation/TheSimpsons'' episode "Lisa the Drama Queen", as a WholePlotReference to ''Film/HeavenlyCreatures'', has Lisa making friends with a newly arrived girl and the both of them creating an imaginary kingdom, and said girl becoming more obsessed with said kingdom (and acting crazier) as the episode goes on. Most important to Marge is that the new girl seems to be dragging Lisa down with her and wants to separate them.

* ''WesternAnimation/AdventureTime'':
** In [[Recap/AdventureTimeS5E36DungeonTrain "Dungeon Train"]], Finn is despondent over a recent breakup when he and Jake encounter the eponymous train. Each car contains progressively stronger enemies to fight which give up [[RandomDrops progressively more powerful weapons and armor when defeated]]. DoesThisRemindYouOfAnything It quickly becomes clear that the train runs on an endless loop and the enemies inside are no threat to the kingdom; Jake becomes bored and leaves, but Finn is enamored of the place and seems content to fight there forever. By episode's end, Jake finally persuades Finn to leave the train and face both his problems and the drudgery of everyday life. Downplayed somewhat because it goes the moderation route; Finn would stay on the train until old age but decides not to go that far, only a little while longer until he's actually satisfied to leave, rather than avoiding his problems indefinitely.
** In [[Recap/AdventureTimeS8E10ImaginaryResources "Imaginary Resources"]], Jake insists living in VR is bad, and even destroys the machine the [[spoiler:humans]] are using, [[SubvertedTrope but he's really oversimplifying things]]. As pathetic as the [[spoiler:humans]] on the island are, they really can't live much any other way, and BMO defends their world as no less real than any other. BMO still decides to leave after rebuilding, but mostly because they would miss Finn and Jake.
* The second-to-last episode of ''WesternAnimation/GravityFalls'' involves Dipper trying to rescue his sister Mabel from a [[LotusEaterMachine perfect dream world]] that was created as a prison by [[BigBad Bill Cipher]]. Mabel is living in a [[SugarBowl sickeningly sweet fantasy land]] in order to escape from reality. More specifically, to escape from the fears and anxieties of an uncertain future, provoked by Wendy's complaints and more seriously, [[spoiler: the fear of a potential split between her and Dipper in much how their Grunkle Stan and his brother Ford went through decades prior, not helped by brothers accidentally influencing this. In fact, it all started when Mabel was tricked into a deal with the offer of a longer summer vacation.]] It takes Dipper reassuring her of their bond to get her to break out of it.

* In ''WesternAnimation/SilverSurfer'', there is a planet of mostly ugly and poor creatures who live in a daydream fantasy created by a special machine that brainwashes everyone on the planet. This machine makes them think that they live perfect lives with no problems and everyone being beautiful. The episode ends with Silver Surfer turning off the machine and the creatures concluding that the right thing to do is to deal with the challenges of the real life.

* The point of the second half of ''Literature/TheNeverEndingStory'', albeit in a more subtle and allegorical fashion that most other examples:
** After Bastian arrives at Fantastica and gives the Childlike Empress a new name, she gives Bastian the AURYN, a magical artifact that can grant any number of wishes in the hand of a human. Naturally, Bastian, being an overweight, lonely and bullied kid who lives with an aloof father still grieving over the death of Bastian's mother, decides to stay in Fantastica forever and uses the AURYN to turn himself into an idealized version of himself, creates adventures for him to feel like a hero, and eventually gets drunk with power and tries to take over Fantastica. Bastian later discovers that every time he uses a wish, he loses a memory of his past life (which is a very blatant allegory of people slowly losing their sanity as they delve deeper into make-believe worlds), and finds a place called "The City of Old Emperors" inhabited by other humans who, like him, were also called by the Childlike Empress to grant her a new name and were given the AURYN, but went mad with power and tried to take over the world as well, until they ran out of memories and became [[EmptyShell barely sapient shells of their former selves]] (an allegory of people who completely lost their minds beyond repair). In order to avoid such a fate, Bastian uses the last few memories he still has to find a way back to his world. With his adventure over and memories restored, Bastian decides to face his problems, including helping his father moving on from his grief.

** After Bastian arrives at Fantastica and gives the Childlike Empress a new name, she gives Bastian the AURYN, a magical artifact that can grant any wish in the hand of a human. Naturally, Bastian, being anoverweight, lonely and bullied kid who lives with an aloof father still grieving over the death of Bastian's mother, decides to stay in Fantastica forever and uses the AURYN to turn himself into an idealized version of himself, creates adventures for him to feel like a hero, and eventually gets drunk with power and tries to take over Fantastica. Bastian later discovers that every time he uses a wish, he loses a memory of his past life (which is a very blatant allegory of people slowly losing their sanity as they delve deeper into make-baleive worlds), and finds a place called "The City of Old Emperors" inhabited by other humans who, like him, were also called by the Childlike Empress to grant her a new name and were given the AURYN, but went mad with power and tried to take over the world as well, until they ran out of memories and became [[EmptyShell barely sapient shells of their former selves]] (an allegory of people who completely lost their minds beyond repair). In order to avoid such a fate, Bastian uses the last few memories he still has to find a way back to his world. With his adventure over and memories restored, Bastian decides to face his problems, including helping his father moving on from his grief.

* The point of the second half of ''Literature/TheNeverEndingStory'', albeit in a more subtle and allegorical fashion that most other examples. After arriving Fantastica and giving the Childlike Empress a new name, she gave Bastian the AURYN, a magical artifact that can grant any wish in the hand of a human. Naturally, Bastian, being overweight, bullied and living with an aloof father still grieving over the death of Bastian's mother, decides to stay in Fantastica and uses the AURYN to turn himself into an idealized version of himself, creates adventures for him to feel like a hero, and eventually gets drunk with power and tries to take over Fantastica. Bastian later discovers that every time he uses a wish, he loses a memory of his past life, and finds a place called "The City of Old Emperors" inhabited by other humans who, like him, were also called by the Childlike Empress to grant her a new name and were given the AURYN, but went mad with power and tried to take over the world as well, until they ran out of memories and became [[EmptyShell barely sapient shells of their former selves]]. In order to avoid such a fate, Bastian uses the last few memories he still has to find a way back to his world. With his adventure over and memories restored, Bastian decides to face his problems, including helping his father moving on from his grief.

Note that despite all of the above, escapism is [[Administrivia/TropesAreTools not inherently a bad thing]] -- as the saying goes, "all things in moderation": Too much escapism leads to more problems, while too little escapism can leave you with a lot of stress and potentially makes you less productive (among other worse things)[[note]]Keep in mind [[https://www.goodreads.com/quotes/22755-why-should-a-man-be-scorned-if-finding-himself-in this eloquently worded quote]] from the master Creator/JRRTolkien; escapism is sometimes ''necessary''.[[/note]] So it is wise to keep all things balanced, both with your RealLife routines and life, and with your escapisms.

* The ''Literature/RedDwarf'' novels feature a game named "Better Than Life", which allows the user to live out their fantasies. However, when you're playing the game, you do not realise that you are playing a game. This means that you can die of starvation from not eating food in reality.

* While this is not the primary Aesop of ''VideoGame/KemonoFriendsexe Kemono Friends.exe'' (that being how HumansAreBastards who claim to love animals, yet exploit them to the point of extinction), throughout the game, the animal friends [[NoFourthWall tell you several times]] that you should return to your own world instead of keep on destroying theirs. This happens again during the GoldenEnding, where Serval tells you to uninstall the game and go out there and enjoy the world, and how even though you can never meet again, you'll be the best of friends forever. If you decide to run the game again, [[HappyEndingOverride however...]]

* While this is not the primary Aesop of ''VideoGame/KemonoFriends.exe'' (that being how HumansAreBastards who claim to love animals, yet exploit them to the point of extinction), throughout the game, the animal friends [[NoFourthWall tell you several times]] that you should return to your own world instead of keep on destroying theirs. This happens again during the GoldenEnding, where Serval tells you to uninstall the game and go out there and enjoy the world, and how even though you can never meet again, you'll be the best of friends forever. If you decide to run the game again, [[HappyEndingOverride however...]]

* While this is not the primary Aesop of ''VideoGame/Kemono Friends.exe'' (that being how HumansAreBastards who claim to love animals, yet exploit them to the point of extinction), throughout the game, the animal friends [[NoFourthWall tell you several times]] that you should return to your own world instead of keep on destroying theirs. This happens again during the GoldenEnding, where Serval tells you to uninstall the game and go out there and enjoy the world, and how even though you can never meet again, you'll be the best of friends forever. If you decide to run the game again, [[HappyEndingOverride however...]]

* While this is not the primary Aesop of ''Kemono Friends.exe'' (that being how HumansAreBastards who claim to love animals, yet exploit them to the point of extinction), throughout the game, the animal friends [[NoFourthWall tell you several times]] that you should return to your own world instead of keep on destroying theirs. This happens again during the GoldenEnding, where Serval tells you to uninstall the game and go out there and enjoy the world, and how even though you can never meet again, you'll be the best of friends forever. If you decide to run the game again, [[HappyEndingOverride however...]]

* ''Anime/WelcomeToTheNHK'' has this as a main theme, but played more realistically. [[LoserProtagonist Sato]] is an [[{{NEET}} unemployed]], [[{{Otaku}} nerdy]] [[{{Hikikomori}} loner]] who basically has no life, and constantly retreats into escapist media and his convoluted daydreams. The toxic nature of his socially isolated personality is especially demonstrated when he becomes addicted to an online computer game at one point, and even develops a crush on a ''fictitious female character'' [[spoiler:(who turns out to be his ''[[{{GIRL}} male friend]]'')]]. Sato's friends constantly try to help pull him out of his unsocial behavior, with awkwardly mixed results. The show also introduces another {{Hikikomori}} character who buries himself in escapist hobbies, and the one thing that finally puts an end to this behavior is his sister (the one person in his life supporting and enabling him) going to prison for a while, [[SurprisinglyRealisticOutcome forcing him to go out into the real world and get a job if he wants to survive]]. [[spoiler:This eventually happens to Sato himself when his father loses his job, and his parents can't afford to financially support him anymore.]]

[[folder:Live-Action Television]]

** In "The Bonding", [[MauveShirt Lt. Marla Aster]] is killed on an away mission and non-corporeal lifeforms from the planet attempt to form a relationship with her son, Jeremy, and take him to their planet to atone for killing the crewmember. The lifeform has to be convinced that what she is doing is wrong and that a fantasy will not help the boy. Earlier in development, the boy would have instead bonded with a holographic recreation of his mother. The moral would have been the same, though.
** "Hollow Pursuits" introduces us to [[ShrinkingViolet Lt. Reg Barclay]], an engineering officer who spends much of his time in the holodeck because he feels intimidated by the ''Enterprise'''s crew. But, with [[AFatherToHisMen Capt. Picard]] and [[NiceGuy Geordi La Forge]]'s support, he starts to cut down on his holo-fantasies, to the point of deleting almost all his programs in the end.
* ''Series/{{Supernatural}}''
** In "What Is and What Should Never Be," Dean gets a wish granted by a Djin and winds up in an AlternateUniverse where his mom is still alive and he and Sam have normal jobs. But when [[BeCarefulWhatYouWishFor it turns out it was]] AllJustADream, he has to choose between living a happy, normal life, or returning to his life of hunting monsters in the real world. He ultimately chooses the latter.
** In "Hunteri Heroici," an elderly psychic is starting to recede into his own mind, and doesn't notice he's bending reality around him to act more like the cartoons he watches at the nursing home. Dean and Cas have to enter the man's head in order to talk to him and to get him to snap out of it.
* {{Subverted| trope}} in ''Series/BabylonFive''. Since character Marcus Cole died before he could have a real relationship with Susan Ivanova, a 'happy end' was later added for the two in Extended Universe: he wakes up out of cryogenic suspension hundreds of years after the end of the series, creates an exact clone of Ivanova (the real one being long dead) and lives with the clone happily ever after... yeah.
* Series/OnceUponATime pulls this off subtly by deconstructing [[EscapistCharacter one of the most iconic characters when it comes to escapism]]: Peter Pan. He is, prior to his life in Neverland, a washed up, down on his luck guy who had to care for his son. Long story short, the two ended up in Neverland where the only permanent resident there, a shadow that'd eventually become ''Pan's'' shadow, tells Pete that he's grown up and shouldn't be escaping to Neverland anymore. He, fitting the fourth item on the list of how to point out that the escapism is bad, ditches his son in a deal to restore his youth and live in Neverland. [[spoiler:Right afterwards, the Shadow points out that now he'll undergo item three, slowly dying, as Neverland was meant to be a place to ''visit'', not stay]].

[[folder:Web Comics]]

This trope is a {{deconstruction}} of {{escapism}}, mainly aimed at {{Neet}} and {{Hikikomori}}, who are epitomes of escapism gone too far.