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Why do all discussions of Sci-Fi and Fantasy here boil down to stupid theorizing on the theme of "who would kill whom"??? We are comparing literary genres, not computer shooters! I believe that if you have thoughts like "are fighters better compared to dragons," "can you kill a dragon with a shotgun," or "would an army of clones defeat a host of Knight"—you read too few books and instead binge-watch stupid Hollywood movies. A literary plot is not built on mindless slaughter! And if it is, then it's glossy mass-market trash, not literature.
Let's consider two literary subgenres—science fiction and fantasy—"as is," meaning without citing computer games, MMORPGs, and other gizmos that appeared no more than twenty years ago. After all, science fiction has existed for more than a century, unlike personal computers.
Herbert Wells is rightfully considered the founder of science fiction. Certainly, there were many authors in the fantasy genre before him, but not scientific (Jules Verne was adventure, Jonathan Swift and Thomas More were social). In Herbert Wells' books, themes first appeared that later spawned a mass of calques/clichés/copies among subsequent Sci-Fi authors. Alien invasions, dubious scientific experiments to become superhuman, interplanetary flights, travels to the future and past, genetically modified creatures spiraling out of control, and much more were original ideas of the author, reproduced in millions of copies by various literary speculators.
But one must not look at things superficially—if a book mentions interstellar travel, you shouldn't call it a "cliché" or a "calque from predecessors." It is entirely possible that the author has their own, completely unique flights. For example, few would think to accuse the Strugatsky brothers and Lem of mutual plagiarism and use of clichés solely on the basis that space ships and alien civilizations appear in their books :)
But when a healthy, sane person on the threshold of the twenty-first century writes about "hyperspace" or "machine uprising," I honestly feel like vomiting. An author of Sci-fi books needs to be well-versed in science; at the very least, they should be familiar with the basics! Unfortunately, such authors no longer exist. I consider the last great writers in the same genre of science fiction to be Isaac Asimov, the Strugatsky brothers, and Stanisław Lem. Now, of course, there are good writers, even Russians, but it's unlikely their names will endure through the ages.
The fantasy genre is somewhat younger than science fiction. There are two reference points—J.R.R. Tolkien and Roger Zelazny. The former was the founder of the entire genre in general terms; the latter first created a fantasy Universe (i.e., a collection of intersecting worlds covering all available space). I won't say anything about the Professor. You may like him or not. In any case, he is a great writer; many Tolkienite fans even blindly claim that "fantasy began and ended with the Professor." Personally, his books seem painfully predictable to me, the plot dragged out, and the happy ending far-fetched. But this is only my opinion; it may be wrong and mistaken.
By the way, I voted for science fiction. Because several times more mass-market trash has been created in the fantasy genre. And I spent several thousand hours of my time on a large amount of fantasy trash. But one literary subgenre cannot possibly be better (more perfect, more interesting) than another! They are a priori equal. It's just that if you divide the number of good writers in science fiction by the number of graphomaniacs and cliché-mongers, and compare it with the same ratio in fantasy, the first number will be slightly larger. A fan of fantasy has to push through more stupid books with far-fetched plots than a fan of science fiction. But both readers will eventually arrive at the great authors of their genres; it's just that in the first case, the process will be slightly longer ;)
To anyone who slanders fantasy, I recommend reading Roger Zelazny, Robert Sheckley, and Robert Heinlein. After all, a genre should be judged by its great authors, not by various Lukyanenkos.
A principled hater of science fiction must read Herbert Wells, Stanisław Lem, Isaac Asimov, Poul Anderson, and Harry Harrison (just not the Stainless Steel Rat—he wrote that for the mass consumer to line his pockets; read his alternative history trilogy of the English-speaking world—now those are great books!).
I won't discuss Efremov or the Strugatskys. The former lacks storytelling talent, and the latter, alas, miscalculated their version of the future (though it's a pity). But if anyone wants to call them great writers, I won't protest; that is generally true.
Now let's consider the current state of speculative fiction. What lies on the shelves on both sides—both fantasy and sci-fi. A large number of books are written purely for making money (Perumov and Max Frye don't even hide this), while others aim to insult the weak brain of the average philistine. Yet originally, science fiction emerged as a genre for extraordinary people, written by extraordinary authors! And it requires non-trivial perception and a broad outlook. Both scientific and magical.
Sergey Lukyanenko wrote only one plot in his entire life. Then he reproduced it in several dozen copies, slightly changing the scenery. These are not books; they are waste paper. The extreme popularity of his writings is caused by low intellectual requirements for the reader of his books. Fiction that does not require you to use your brain to understand is not fiction at all. This genre is called own-market same-old ;)
However, credit must be given to Lukyanenko. He did write one good book. It's "Star Shadow." But alas, it is destined to get lost among the mountain of slag produced by its creator. "Labyrinth of Reflections" is quite decent; perhaps it's the best book about virtual reality released in the twenty-first century. But "Genome," "Spectrum," "Watch 1-2-3," and "Lord from Planet Earth" are all the same, only the main character has a slightly different hairstyle/voice, and the colors of the dilapidated scenery have been freshened up with multicolored paint. The second-rate horror "Autumn Visits" differs slightly from them, but it doesn't even compare to Stephen King. Honestly, I regret reading almost all of Lukyanenko's books (though now that list is probably half—he is terribly prolific).
Nick Perumov. Wrote one decent fantasy book, "Diamond Sword, Wooden Sword," which drowned in cumbersome, boring, and predictable "addons." Unlike Lukyanenko, Perumov decided not to bother at all and drags the same characters from series to series, from book to book. He doesn't even think it necessary to slightly "touch up" the worlds. He tried his hand at science fiction with "Empire Above All"—well, a solid plot and a good idea. It's just that the author's scientific illiteracy somewhat spoils the impression ("ships tearing through hyperspace," "race of intelligent octopuses").
There are also completely incomprehensible "authors" who crawled out of some unknown holes—for example, sci-fi graphomaniacs like Bessonov and Livadny. Both write books of 500-800 pages with a cyclical repeating plot. For the sake of trolling, I slogged through several of them. Bessonov is an abnormal being—over ten pages of his book, on average, two packs of tobacco products are smoked, a medium-sized warehouse of alcohol is drunk, and then all this good stuff is chased/shot with a healthy dose of drugs. The books are clearly aimed at teenagers; they wonderfully teach young minds ways to ruin their own health and also contain a mini-guide "first steps on the path to sexual violence."
Of modern Russian sci-fi authors, I can name only one worthy: Andrey Lazarchuk. By the way, he writes equally well in both subgenres. Read "Tranquillium," "Hyperborean Plague," and "Look into the Eyes of Monsters." You won't regret it, I assure you. Although I cannot compare him to such a titan as Stanisław Lem.
And finally, a couple of words about modern cinema. Just forget about those stupid blockbusters. They aren't required to be anywhere near the great authors whose ideas they steal. Watch them with a "light head"—not looking for deep meaning, but simply admiring the special effects. And then you won't be tormented by the absurd "problem" that sounds like: "where is the world heading?"