This topic contains 12 replies, has 4 voices, and was last updated by Denarius .
2019-08-04 at 9:36 pm #6331
2019-10-25 at 4:51 am #7150DenariusForum Editor@denarius-cornelliusRank: Involved Member
An expression coined by the German refugee Professor Ossip Flechtheim, on his teaching tour of American colleges in the late forties and early fifties, he argued passionately that there should be a concerted effort by sociologists, historians, psychologists, economists and political scientists to examine closely the social and technical trends as a means of learning the true shape of coming things.
History shows that human beings are a future-directed species, thinking nothing of long coastal treks out of Africa and into Eurasia, the early horizon-watchers knowing that the survival of humankind meant to populate all parts of their known world.
But the literature of possible proposals and the projections about humankind’s future, these are things that appear as a blip at the end of civilisations written records, it is strange to think that words like utopia and dystopia in science-fiction are western concepts.
All these future-orientated activities may have began with the first modern conceptions of what a utopia might be, and humankind’s wish to create better societies that are less barbarous than the reflection of early humankind. A premise widely used in the pages of created science-fiction.
Reference : Peter Nicholls.
2019-10-23 at 4:11 pm #7125Eyvisl YnglingForum Editor@eyvislRank: Diety
The “Navasys” storyverse is based on a massive (multi)corporation that got its extraordinary wealth and expansive reach from having completely reinventing intergalactic navigation and then revolutionizing asteroid and planetary mining. the next chapter was the discovery of a solar system far away, this is the setting for the story. The Navasys Multicorp transported hundreds of thousands of people (of more-than-one species of sentients) to mine and exploit this solar system. Every great adventure needs a protagonist though, right? Enter the Drie-A-D’nae, a highly advanced space-faring race that feels that humans have gotten a little too close for comfort.
2019-10-22 at 4:02 am #7113DenariusForum Editor@denarius-cornelliusRank: Involved Member
Sounds interesting Eyvisl, if I can be of any research or writing help, please say so. This area of AHF interests me also, of course as well as Rome. I guess the navasys, refers to navigation system. There’s a lot of potential to explore in the section.
The ‘Near Future’, images of the future in science fiction differ markedly from those of the unknown ‘far future’, in both content and attitude of the author.
Tales of the ‘far future’ tends to be associated with ideas and notions of humankinds ultimate destiny, out there in the stars and can be dominated with contemporary metaphors such as ‘Star Trek’.
Authors tend to view the ‘far future’ with a detached point-of-view, reminiscent of creating a fantasy world in which magic has to be limited for plausibility.
The paradox about writing about the ‘far-future’, is one of nostalgia, because the future is like the past, only to be entered imaginatively, and playing with its historical facts, using contemporary emotional resonance to make it a page-turner.
Reference : Orbit.
2019-10-21 at 7:47 pm #7096Eyvisl YnglingForum Editor@eyvislRank: Diety
I am trying to compile all the mtls for my “Navasys” Sci-Fi world. It includes a solar system, the intelligent space-faring race and all of the ship designs, background story etc.
2019-08-14 at 8:20 pm #6509
2019-08-14 at 10:16 am #6508BericForum Moderator@beric_debenkahRank: Honorary Scribe
Science Fiction & Science Fantasy :
Science fiction or speculative fiction, can encompass the fusion of fantasy, supernatural events with scientific explanations, un-nerving horror of the alien unknown, expeditions and invasions, in fact in the days of the fusions of mixed genres it can be any type of speculative fiction with scientific explanation.
Science fiction can be termed as over-lapping with the fantasy genre, but by contrast with fantasy – which can be described as a body of self coherent but impossible narratives, – the category of science fiction normally designates text whose stories explicitly extrapolated from scientific or historical premises.
Science Fantasy :
In 1950’s Judith Merril, advocated the use of this term as consistent expression of the new female writers science-based exploration that was not limited by physics and hard rational science, a genre that both women and men explored new interpretations of time, space and other dimensions.
Both heroic fantasies & rationalised fantasies, that have often been called science fiction, which both under-pinned their created worlds with scientific explanation that did not sit-well with the male-orientated hard science fiction writers and book critics, with the use of magic, descriptions of dying worlds, planetary romances and science fantasy lands that sold better than the hard science fiction.
Both Michael Moorcock & Gene Wolfe were happy to construct science fantasy tales told in locations and venues not explored by the hard science fiction writers, using various characters who lacked the knowledge of the science behind these created locations and venues only added to the suspense and mystery to keep the reader turning the pages.
Reference used : Judith Merril.
2019-08-14 at 9:40 am #6507BericForum Moderator@beric_debenkahRank: Honorary Scribe
Creation Stories In Science Fiction & Fantasy :
With a plethora of theories and ideas, in the early days of science fiction the authors could not resist re-inventing Biblical myths, such material would appear in science fiction magazines of the 1940’s & 1950’s, the numerous plots represented a virgin alien world rich in vegetation, but of the rocket team, the only survivors were one woman & one man.
In the 1960’s these stories concentrated in god as an alien being experienced in genetic engineering, in Charles Harness’s ‘New Reality’, where the author goes in great detail to set up a framework in which a new universe can be created around the male protagonist and his faithful girlfriend, this in turn sent other authors on the path of Artificial Intelligence and female and male android.
In the 1960’s more ambitious science fiction creation stories went into print, tales in which human beings are enabled to play an active part in the cosmological process of creation and re-creation, while other writers were more interested in evolution and anthropology, misguided by the founding fathers of Science, Taylor & Frazer, who made the dubious assumption that, by studying diversity of contemporary societies and describing a hierarchy that extends from the primitive to the most highly developed both Taylor & Frazer could discover a single evolutionary pattern.
This misguided assumption is built into the fledgling science fiction of early thoughts on anthropology, modern anthropologists take care to avoid this kind of thinking with new categories of pre-literate, tribal, traditional, or non-technological societies, most speculative fiction, however owes a great deal to scientific discovery and possible theories.
Reference used : John Clute.
2019-08-14 at 8:20 am #6506BericForum Moderator@beric_debenkahRank: Honorary Scribe
The New Definitions Of The Protagonist & Antagonist :
Thank goodness new authors have stayed clear of the good and baddies of pulp-fiction and taking the trouble of re-inventing the flawed greyness of human & alien-kind, the central protagonist is now a flawed character due to experiencing bad events in his/her past, and the antagonist can suddenly perform some out-of-character beneficial act.
But first the Accursed Wanderer, the antagonist who is used in both science fiction and fantasy, the antagonist characterisation that stems from Medieval tales of Caine, the antagonist is usually depicted as taboo-breaking or blasphemous to unsettle the reader, with esoteric powers of being protected by dark supernatural being who curtails mundane threats against the antagonist existence. Engaging the reader to the antagonist’s final come-uppance.
A person who uses other characters in discriminate ways, but the accursed wanderer comes in many guises, a black-hearted pirate, a hidden monarch, a vampire posing as mortal, an alien humanoid responsible for genocide on his home-planet, the Wandering Jew, or a fallen angel as an alien outcast. The accursed wanderer’s confrontation with the anti-hero/heroine then has more emotional revelation and an effective generator of a complex plot.
Thankfully the main protagonist is today – female, such as Maeve (Thandie Newton) and Dolores (Evan Rachel Wood) stella performances in ‘Westworld’, now we live in exciting times of a plethora of female science fiction and fantasy authors, as in the early male-orientated days of science fiction the portrayal of their female characters was basic, to say the least.
A patriarchal culture aimed perhaps at teenage boys where a lack of female protagonists left me slightly bewildered after my education of all female teachers, the only male teacher was the physical exercise teacher for boxing, cricket & soccer, I read and watched science fiction, where girls twisted their ankles on alien terrains, where scantily dressed quasi-humanoid women wore metallic brassieres, but still seemed like damsel-in-distress rescue by some muscle-bound hulk that looked out-of-character in a futuristic setting. Or female actors playing the part of the spinster secretary or the widower, but never the scholarly scientist, just made me think, in my youth, why ?
Thank goodness we live in an age of disparaging old stereo-types and a new age of creating new possibilities for the expression of female humanity, unfortunately, these positive changes are now, decades too late, filtering down to popular films and television series. Cricket is England’s answer to baseball.
Reference used : Judith Merril.
2019-08-14 at 7:16 am #6505BericForum Moderator@beric_debenkahRank: Honorary Scribe
Polder Or Force Field ?
Polder is an old Dutch word which means a low-lying tract of land reclaimed from a body of fresh water or salty sea water, now surrounded by banked high level ditches, the result of pumping out the water-logged ground has made the level on the earth to fall away considerably, the word ‘polder’, has now taken on a new meaning in writing mechanics, thank to the Dutch writer Gustav Meyrink’s novel, ‘The Green Face’.
Now polders are defined as enclaves of toughened realities, with strict demarcated boundaries from the surrounding world, boundaries that must be maintained at all costs, a polder in other words in an active microcosm, in science fiction in can be a pocket universe within a multi-universe structure.
In horror it can be a circle of salt against nightmarish demons, but normally its a safe-haven, – where its inhabitants are armed against the antagonistic feeling of wrongness that surrounds the stronghold polder. In Tolkien the Hobbits found a safe-haven in Tom Bombadil’s magical realm surrounded by the malign Old Forest.
The science fiction premise of a force field, acts as a protective shield against who-knows-what ! Usually manifesting a protective shield only visibly when an intruder activates the wall-separation, and the science fiction writer’s remedy to laser-beamed death rays, with the added spin of potential conflict that such weapons can drain the energy banks of the force-field, therefore the polder can be breached.
The true rationale behind the creation of the force-field science fiction terminology is its close relationship with the tractor beam, which can pulled object closer to the source of the beam, and the fantasy creation of the pressor-beam which can push metros away from faster than light space-crafts.
Although Polders & Force Fields can have a negative effect on their inhabitants, the characters are either contained safely or trapped by an outside source, the moral conditions within the trapped polder will decline, or in a microcosm, questions of their reality will surface, leaving the author of such a story with a straight-forward dilemma only change within or outside conflict will only making this story of any interest.
Reference used : Peter Nichols.
2019-08-14 at 6:19 am #6504BericForum Moderator@beric_debenkahRank: Honorary Scribe
The Working Mechanics Behind Science Fiction & Fantasy Story-Telling :
Crosshatch, if you Google cross-hatching it will direct you to wool-knitting, but in this context. – Many science fiction & fantasy tales are set on more the one world, the initial trigger being, a mystery that will hold the attention of the reader, as the story is not mundane reality, normally one of these worlds is Earth, and the other is termed as the Secondary World, is this world time may move at different rates, this expression of thought has been labelled Time-In-Fairy, thanks to all the old folklore tales of timelessness.
Thresholds are sharply demarcated, not to lead to the reader’s confusion, it is usually the main protagonist that intermixes with the realities of both Worlds, to the disbelief of other characters, getting the need for inner & external conflict and a possible page-tuner, but with some new writers the demarcations lines are not so clear cut.
The two worlds may simultaneously inhabit the same territory, as in, ‘The City & The City’, China Mieville’s ingenious take on an invisible Berlin Wall separating one city with two different names, with weird science fiction coupled with police procedures and brain-washing techniques to see the other half of the city as a blur, Beszel the easterly part of the city, resembling the hardships of East Berlin and Ui Quoma representing the advance technology and modern spacious building of West Germany.
Reference used : John Grant.
2019-08-14 at 5:53 am #6503BericForum Moderator@beric_debenkahRank: Honorary Scribe
Bothild, it’s always fascinated me about the mechanics behind the story-telling of science-fiction and also fantasy, take aliens for an example, in the stories of the 17th & 18th centuries, the imaginations of the writers, perhaps with pressure of editors and to make tales worthy of publication didn’t stretch as far as visitors from other worlds, instead it was quasi-humans with recognisable zoomorphic features and behaviour-patterns like the old fable stories.
Unfortunately satire was used to point politic fun at their contemporary injustices, I say unfortunately only because they were not well-thought-out aliens constructions, the idea of alien beings from another planet was first popularised by Camille Flammarion, in his non-fictional work entitled, ‘Real & Imaginary Worlds’, published in 1864, and his follow up by his fictional work in ‘Lumen’, 1887.
Flammarion’s accounts of life on other planets with sentient plants, and where humanoid species could experience serial re-incarnation, in J.H.Rosny’s ‘The Navigators Of Infinity’, 1925, that creates the Planetary Romance Genre, has its main Earth protagonist developing affections for a quasi-human Martian, in the vein of Edgar Rice-Burroughs.
Science fiction writers of the 1920’s used as a under-lying premise the Darwin philosophy of evolution, in this they reflected Earth’s history as a construction of Alien home-worlds, both recognisable and empathic to their readership, as in the science pulp fiction of the 20’s & 50’s, it was the 60’s when things began to change with the new writing genre of hard science fiction.
Reference used : John Clute.
2019-08-04 at 9:39 pm #6332Bothild SilfverskildForum Editor@bothildRank: Involved Member
By making this new “world” I am creating a space for all things anachronously from the future. For example, the Firefly novel from Pan. I already told Dan (owner of Pan) BTW.