Humans read and listen to stories not only to be informed but also as a way to enter worlds that are not like our own. Stories provide mirrors, windows, and doors into other existences, both real and imagined. A sense of the infinite possibilities inherent in fairy tales, fantasy, science fiction, comics, and graphic novels draws children, teens, and adults from all backgrounds to speculative fiction--also known as the fantastic. However, when people of color seek passageways into the fantastic, we often discover that the doors are barred. Even the very act of dreaming of worlds-that-never-were can be challenging when the known world does not provide many liberatory spaces. The dark fantastic cycle posits that the presence of Black characters in mainstream speculative fiction creates a dilemma. The way that this dilemma is most often resolved is by enacting violence against the character, who then haunts the narrative. This is what readers of the fantastic expect, for it mirrors the spectacle of symbolic violence against the Dark Other in our own world. Moving through spectacle, hesitation, violence, and haunting, the dark fantastic cycle is only interrupted through emancipation--transforming objectified Dark Others into agentive Dark Ones. Yet the success of new narratives from "Black Panther" in the Marvel Cinematic universe, the recent Hugo Awards won by N. K. Jemisin and Nnedi Okorafor, and the blossoming of Afrofuturistic and Black fantastic tales prove that "all" people need new mythologies--new "stories about stories." In addition to amplifying diverse fantasy, liberating the rest of the fantastic from its fear and loathing of darkness and Dark Others is essential.