The latest trailer for the upcoming Star Wars: Rogue One movie was released just yesterday, which fans had to suffer through endless hours of Olympic coverage to see. Okay, maybe suffered is the wrong word, the Olympics are awesome. But so is this trailer. Bask in it. BASK I SAY!
For those who can’t wait until December to see this movie, this trailer is essentially a big, fat tease! But for those who thought the past few trailers were simply not enough (I think I fit into that second category) the four-and-a-half minute supercut is pure awesomeness! And Star Wars will definitely notice that this trailer provides some serious hints about the plot.
The previous trailers established that a resurgent Empire is out and about, sporting a new commander and a new Sith Lord who venerates Darth Vader and promises to complete the work he started. Enter into this two force-sensitive people – Finn (a former Stormtrooper) and Rey (a desert scavenger) – who meet up and are rescued by Han and Chewie aboard the Falcon.
And the rest, clearly, is sheer awesomeness! Take a look…
It finally happened, Lucasarts and J.J. Abrams have released the very first trailer for the upcoming Star Wars sequel. For months, tidbits of news has been trickling out of the studio – casting info, tentative info on the plot, official posters; and of course, the name. But otherwise, everyone involved in the movie’s production has been pretty tight-lipped about it.
Word is, the studio even ordered a “drone shield” to protect their sets from anyone trying to obtain aerial footage of the production. Pretty neat huh? In any case, the trailer is pretty good at giving us drops that will only make us thirsty for more!
These include the familiar locale of Tatooine, actor John Boyega in the role of a Stormtrooper, a Sith with a newfangled lightsaber (above), actress Daisy Ridley riding a bulky speeder on Tatooine, actor Oscar Isaac flying a squad of X-wings across open water, Stormtroopers preparing for an assault, and the good ol’ Millennium Falcon dog fighting with TIE fighters above Tatooine’s surface.
All the while, we hear a baritone voice asking us if we can feel it, and by “it”, he means the Force! I tell you, this puts me in mind of the days when trailers for Star Wars Episode I were first coming out. I remember how us Wars geeks were all atwitter and couldn’t wait to see it. Perhaps it’s because I’m older now, or that the prequels have left me a bit jaded and cynical, but I do wish I could recapture that feeling.
Basically, I think that like many childhood fans, I’m hoping that these sequels will be what the prequels should have been – an exciting and awesome return to the Star Wars universe we all knew and loved. Before the dark times… before Jar-Jar and midechlorians!
For f*** sakes, MIDECHLORIANS!
Check out the trailer below:
As if it weren’t bad enough that they are replacing workers here on Earth, now they are being designed to replace us in space! At least, that’s the general idea behind Google and NASA’s collaborative effort to make SPHERES (Synchronized Position Hold, Engage, Reorient, Experimental Satellites). As the name suggests, these robots are spherical, floating machines that use small CO2 thrusters to move about and performing chores usually done by astronauts.
Earlier this month, NASA announced it’s plan to launch some SPHERES aboard an unmanned Cygnus spacecraft to the International Space Station to begin testing. That launch took place on July 11th, and the testing has since begun. Powered by Tango, Google’s prototype smartphone that comes with 3D sensors that map the environment around them, the three satellites were used to perform routine tasks.
NASA has sent SPHERES to the ISS before, but all they could really do was move around using their small CO2 thruster. With the addition of a Tango “brain” though, the hope is that the robots will actually be able to assist astronauts on some tasks, or even completely carry out some mundane chores. In addition, the mission is to prepare the robots for long-term use and harmonized them to the ISS’ environment.
This will consist of the ISS astronauts testing SPHERES ability to fly around and dock themselves to recharge (since their batteries only last 90 minutes), and use the Tango phones to map the Space Station three-dimensionally. This data will be fed into the robots so they have a baseline for their flight patterns. The smartphones will be attached to the robots for future imaging tasks, and they will help with mathematical calculations and transmitting a Wi-Fi signal.
In true science fiction fashion, the SPHERES project began in 2000 after MIT professor David W. Miller was inspired by the “Star Wars” scene where Luke Skywalker is being trained in handling a lightsaber by a small flying robot. Miller asked his students to create a similar robot for the aerospace Industry. Their creations were then sent to the ISS in 2006, where they have been ever since.
As these early SPHERES aren’t equipped with tools, they will mostly just fly around the ISS, testing out their software. The eventual goal is to have a fleet of these robots flying around in formation, fixing things, docking with and moving things about, and autonomously looking for misplaced items. If SPHERES can also perform EVAs (extra-vehicular activity, space walks), then the risk of being an astronaut would be significantly reduced.
In recent years there has been a marked shift towards the use of off-the-shelf hardware in space (and military) applications. This is partly due to tighter budgets, and partly because modern technology has become pretty damn sophisticated. As Chris Provencher, SPHERES project manager, said in an interview with Reuters:
We wanted to add communication, a camera, increase the processing capability, accelerometers and other sensors [to the SPHERES]. As we were scratching our heads thinking about what to do, we realized the answer was in our hands. Let’s just use smartphones.
The SPHERES system is currently planned to be in use on the ISS until at least 2017. Combined with NASA’s Robonaut, there are some fears that this is the beginning of a trend where astronauts are replaced entirely by robots. But considering how long it would take to visit a nearby star, maybe that’s not such a bad thing. At least until all of the necessary terraforming have been carried out in advance of the settlers.
So perhaps robots will only be used to do the heavy lifting, or the work that is too dull, dangerous or dirty for regular astronauts – just like drones. Hopefully, they won’t be militarized though. We all saw how that went! And be sure to check out this video of SPHERES being upgraded with Project Tango, courtesy of Google’s Advanced Technology and Projects group (ATAP):
The Aerofex’s hoverbike made a pretty big splash when the Californian company showed off its working prototype back in 2012. But since that time, tech enthusiasts and futurists (not to mention fans of Stars Wars and sci-fi in general) heard nary a peep from the company for almost two years. Luckily, Aerofex has finally broken its silence and announced a launch date and a price for its hovering vehicle. According to its website, it will be ready to ship by 2017, and cost a robust $85,000 a vehicle.
In its current form, the Aero-X is capable of carrying a load of up to 140kg (310 pounds), has seating for two, and can run for 1 hour 15 minutes on a full tank of petrol. Its two wheels are ducted rotors with carbon fibre blades, which operate in a similar manner to the open rotor of a helicopter with tighter control. And in addition to land, it can also fly over water. So while it is not a practical replacement for everyday vehicles, it can certainly occupy the same area profile as a small car.
And – do I even need to say it? – it’s a freaking hoverbike! In the last two years, the company has been working on improving the vehicle’s stability and coupling – a phenomenon whereby rotor vehicles may pitch in the direction of the rotors’ spin. It has filed several patents for its solutions and looked towards quadcopters to solve the problem of wind, using gyroscopes and accelerometers communicating with an on-board computer to compensate for windy conditions.
User-friendliness has also figured very heavily into the design, with handlebar controls for intuitive steering and safety features that keep the driver from flying too high or too fast. Both of these features would drain its fuel more quickly, but they ensure a greater degree of user-safety. This also helps it comply with the US Federal Aviation Administration’s guidelines, which require a pilot’s license for anyone operating a vehicle above an altitude of 3.7 metres (12.1 feet).
So if you have that $85,000 kicking around (and a pilots license), you can reserve yours now for a refundable deposit of $5,000. A product statement and some basic specs have also been made available on the website. According to the commercial description:
Where you’re going, there are no roads. That’s why you need the Aero-X, a vehicle that makes low-altitude flight realistic and affordable. Flying up to 3 metres (10 feet) off the ground at 45mph (72kph), the Aero-X is unlike any vehicle you’ve seen. It’s a hovercraft that rides like a motorcycle — an off road vehicle that gets you off the ground.
I can certainly see the potential for this technology, and I imagine DARPA or some other military contractor is going to be knocking on Aeroflex’s door real soon, looking for a militarized version that they can send into dirty and dangerous areas, either to pick up wounded, transport gear, or diffuse landmines. We’re talking hoverbikes, people. Only a matter of time before the armed forces decide they want these latest toys!
Click here to go to the company website and get the full run down on the bike. And be sure to check out these videos from the company website, where we see the Aeroflex going through field tests:
Sources: cnet.com, cbc.ca, aerofex.com
Happy (early) May the Fourth everyone! This year, I thought I’d get on this fandom anniversary early by passing on some franchise news that was just released from Lucasfilm and Disney regarding the upcoming relaunch of the Star Wars franchise. After months of speculation, the cast for the upcoming Star Wars movie has finally been announced! The news came this past week in a post on StarWars.com, where companies spelt it out for all the fans who have been eagerly awaiting the news.
In addition to Mark Hamil, Harrison Ford and Carrie Fisher – who will receive top billing as Luke Skywalker, Han Solo and Princess Leia – Peter Mayhew, Anthony Daniels and Kenny Baker will also be reprising their roles as Chewbacca, C-3PO and R2-D2. Also, the movie will star several notable actors in new roles, including acting great Max von Sydow (The Tudors, Minority Report, Snow Falling on Cedars, Judge Dredd, Needful Things).
Also, Adam Driver (Girls, Lincoln), Oscar Isaac (Robin Hood, Sucker Punch, Drive), Andy Serkis (who brought Gollum to life in LOTR and the Hobbit franchises), Domhnall Gleeson (who played Bill Weasely in the Harry Potter series), and British television stars John Boyega and Daisy Ridley were announced, though has is not yet been announced what characters they will be playing. But since the upcoming movie will be taking place 30 years after Return of the Jedi, it’s fair to assume that the focus will be on these characters rather than on the original cast.
In a photo release this past Tuesday (seen below), director JJ Abrams is seen having a roundtable discussion with the cast at Pinewood Studios in the UK. Note the body of R2-D2 which sits unboxed behind them, having no doubt just been brought out of storage. JJ Abrams, identified by his spiky hair and glasses, can be seen sitting to the left of R2, with Harrison Ford to his right, Carrie Fisher two seats down, and Mark Hamil seated opposite to the far left of the photo.
When news of the cast was released, Abrams was quoted as saying:
We are so excited to finally share the cast of Star Wars: Episode VII. It is both thrilling and surreal to watch the beloved original cast and these brilliant new performers come together to bring this world to life, once again. We start shooting in a couple of weeks, and everyone is doing their best to make the fans proud.
This, the seventh film in the Star Wars franchise, and is slated for a December 18th, 2015, release. In addition to Abrams directing, he is also collaborating on the screenplay with Lawrence Kasdan, the man who co-wrote The Empire Strikes Back, Return of the Jedi and Raiders of the Lost Ark. Kathleen Kennedy, J.J. Abrams, and Bryan Burk are producing, and John Williams returns as the composer.
I think I speak for fans and geeks everywhere when I wish them all luck! Lord knows we could all use a really decent Star Wars sequel, especially when so many of us felt so utterly let down by the prequels! However, I think it is fair to say that Abrams and the rest should not be too concerned about what the fans and expect. If this latest installment is to be a success, it must not be overly aware of itself or its legacy. Such was part of what brought the prequels down in my estimation, and like everyone else, I just want to enjoy what comes next!
Good day and May the Fourth be with you all!
Behold, the latest bit of Star Wars-related spoofery! Inspired by the Pharrell Williams song “Happy”, this little mash up was produced by the STAR WARS TUNISIA fan club. The aim of this group is to gather and inform Tunisian Star Wars fans, and communicate with others all over the world. And in this case, that involved getting into Star Wars costume and doing a scene for scene reenactment of the original music video.
And they did it all in the actual location used to simulate the Tatooine moisture farm where Luke grew up. Enjoy!
It seems I’m always behind on these things! Yesterday, I came across this video entirely by accident, and realized it was one of the many movie shorts that certain parties had used to create a fan trailer for the upcoming Star Wars VII movie. Basically, its the intro movie for the MMORPG Star Wars: The Old Republic, and is a whole lot of eye-popping action porn!
A trailer which included all three SWTOR movies – The Return, Hope, and Deceived – it has all the Star Wars action staples. These include Jedis and Sith battling it out with lighstabers, the smuggler with a Corellian ship, droids and armored soldiers fighting it out with blasters and detonators, and space-borne dogfights. And of course, the entire thing takes place to a classic John Williams score. Enjoy the movie!
Fans of Star Wars are often able to pride themselves on their ability to recount the entire story, scene for scene and even word for word. But artist Aled Lewis took it step further and hand-stitched a continuous tapestry. The creation process took six months, involved creating each scene on his laptop, and then transferring it in pixel format onto cloth and cross-stitching it in detail.
It is called “The Coruscant Tapestry”, a hand-stitched, 30 foot cotton thread illustration printed on Klostern fabric. The tapestry depicts the memorable moments from the “Star Wars” movies – from “A New Hope” to the way to “Revenge of the Sith” – in a way that is similar in style to that of The Bayeux Tapestry, which tells of the events that led to the Norman conquest of England.
Click on the image above to get a closer look at the tapestry. And if you are in the area the awe-inspiring artwork is on display at Gallery 1988 in Los Angeles, and available to buy for just $20,000. I know, seems like a lot to spend on something pop-culture related; but then again, I’m not a collector!
In the course of becoming an indie writer, there is one aspect of the creative process which keeps coming back to me. To put it simply, it is the challenges and delights of world building – i.e. creating the background, context, and location in which a story takes place. For years, I have been reading other people’s thoughts on the subject, be they authors themselves or just big fans of literary fiction.
But my own experience with the process has taught me much that I simply couldn’t appreciate before I picked up my pen and pad (or in this case, opened a word doc and began typing). Ad lately, the thoughts have been percolating in my mind and I felt the need to write them out. Having done that, I thought I might share them in full.
For starters, being a science fiction writer presents a person with particular opportunities for creative expression. But at the same time, it presents its share of particular challenges. While one is certainly freer to play around with space, place, and invent more freely than with most other genres, they are still required to take into account realism, consistency and continuity in all that they do.
Sooner or later, the world a writer builds will be explored, mapped, and assessed, and any and all inconsistencies are sure to stick out like a sore thumb! So in addition to making sure back-stories, timelines and other details accord with the main plot, authors also need to be mindful of things like technology, physical laws, and the nature of space and time.
But above all, the author in question has to ask themselves what kind of universe they want to build. If it is set in the future, they need to ask themselves certain fundamental questions about where human beings will be down the road. Not only that, they also need to decide what parallels (and they always come up!) they want to draw with the world of today.
Through all of this, they will be basically deciding what kind of message they want to be sending with their book. Because of course, anything they manage to dream up about the future will tell their readers lots about the world the author inhabits, both in the real sense and within their own head. And from what I have seen, it all comes down to five basic questions they must ask themselves…
1. Near-Future/Far Future:
When it comes to science-fiction stories, the setting is almost always the future. At times, it will be set in an alternate universe, or an alternate timeline; but more often than not, the story takes place down the road. The only question is, how far down the road? Some authors prefer to go with the world of tomorrow, setting their stories a few decades or somewhere in the vicinity of next century.
By doing this, the author in question is generally trying to show how the world of today will determine the world of tomorrow, commenting on current trends and how they are helping/hurting us. During the latter half of the 20th century, this was a very popular option for writers, as the consensus seemed to be that the 21st century would be a time when some truly amazing things would be possible; be it in terms of science, technology, or space travel.
Other, less technologically-inclined authors, liked to use the not-so-distant future as a setting for dystopian, post-apocalytpic scenarios, showing how current trends (atomic diplomacy, arms races, high tech, environmental destruction) would have disastrous consequences for humanity in the near-future. Examples of this include Brave New World, 1984, The Iron Heel, The Chrysalids, and a slew of others.
In all cases, the totalitarian regimes or severe technological and social regression that characterized their worlds were the result of something happening in the very near-future, be it nuclear or biological war, a catastrophic accident, or environmental collapse. Basically, humanity’s current behavior was the basis for a cautionary tale, where an exaggerated example is used to illustrate the logical outcome of all this behavior.
At the other end of the spectrum, many authors have taken the long view with their sci-fi world building. Basically, they set their stories several centuries or even millennia from now. In so doing, they are able to break with linear timelines and the duty of having to explain how humanity got from here to there, and instead could focus on more abstract questions of existence and broader allegories.
Examples of this include Frank Herbert’s Dune and Asimov’s Foundation series, both of which were set tens of thousands of years in the future. In both of these universes, humanity’s origins and how they got to where they were took a backseat to the historical allegories that were being played upon. While some mention is given to the origins of humanity and where they came from, little attempt is made to draw a line from the present into the future.
Instead, the focus is overwhelmingly on the wider nature of human beings and what drives us to do the things we do. Asimov drew from Gibbon’s Decline and Fall of the Roman Empire to make a point about the timeless nature of history, while Herbert drew on the modern age, medieval and ancient history, religion, philosophy, and evolutionary biology and ecology to investigate the timeless nature of humanity and what factors shape it.
For non-purists, Star Wars and Star Trek can also serve as examples of both tendencies in action. For decades, Star Trek used a not-too-distant future setting to endlessly expound on the human race and the issues it faces today. And always, this examination was done in the form of interstellar travel, the crew of the Enterprise going form world to world and seeing themselves in the problems, norms and social structure of other races.
Star Wars, on the other hand, was an entirely different animal. For the people living in this universe, no mention is ever made of Earth, and pre-Republic history is considered a distant and inaccessible thing. And while certain existential and social issues are explored (i.e. racism, freedom and oppression), the connections with Earth’s past are more subtle, relying on indirect clues rather than overt comparisons.
The Republic and the Empire, for example, is clearly inspired by Rome’s own example. The Jedi Code is very much the picture of the Bushido code, its practitioners a sort of futuristic samurai, and the smugglers of Tatooine are every bit the swashbuckling, gun toting pirates and cowboys of popular fiction. But always, the focus seemed to more on classically-inspired tales of destiny, and of epic battles of good versus evil.
And of course, whether we are talking near future or far future has a big influence on the physical setting of the story as well. Which brings me to item two…
2. Stellar or Interstellar:Here is another important question that every science fiction author has faced, and one which seriously influences the nature of the story. When it comes to the world of tomorrow, will it be within the confines of planet Earth, the Solar System, or on many different world throughout our galaxy? Or, to go really big, will it encompass the entire Milky Way, or maybe even beyond?
Important questions for a world-builder, and examples certainly abound. In the former case, you have your dystopian, post-apocalyptic, and near future seenarios, where humanity is stuck living on a hellish Earth that has seen better days. Given that humanity would not be significantly more adavanced than the time of writing, or may have even regressed due to the downfall of civilization, Earth would be the only place people can live.
But that need not always be the case. Consider Do Androids Dream of Electric Sheep? by Philip K Dick. In his dystopian, post-apocalyptic tale, Earth was devestated by nuclear war, forcing the wealthiest and healthiest to live in the Offworld Colonies while everyone who was too poor or too ravaged by their exposure to radiation was confined to Earth. Clearly, dystopia does not rule out space travel, though it might limit it.
And in the latter case, where human beings have left the cradle and begun walking amongst our System’s other planets and even the stars, the nature of the story tends to be a bit more ambiguous. Those who choose such a setting tend to be of the opinion that mankind either needs to reach out in order to survive, or that doing so will allow us to shed some of our problems.
Examples abound here again, but Alastair Reynolds’ Revelation Space universe seems like the ideal one here. In this series, humanity has access to near-light speed travel, nanotechnology, brain-computer interfacing, neural uploading, AI, smart materials, and has colonized dozens of new worlds. However, the state of humanity has not changed, and on many worlds, civil war and sectarian violence are common.
In either case, the setting also bears a direct relation to the state of technology in the story. For humans still living on Earth (and nowhere else) in the future, chances are, they are about as advanced or even behind the times in which the story was written. For those living amongst the stars, technology would have to advanced sufficiently to make it happen. Which brings me to the next point…
3. High-Tech or Low-Tech:
What would a work of science fiction be without plenty of room for gadgets, gizmos, and speculation about the future state of technology? And once more, I can discern of two broad categories that an author can choose from, both of which have their share of potential positives and negatives. And depending on what kind of story you want to write, the choice of what that state is often predetermined.
In the former case, there is the belief that technology will continue to advance in the future, leading to things like space travel, FTL, advanced cyborgs, clones, tricorders, replicators, artificial intelligence, laser guns, lightsabers, phasers, photon torpedoes, synthetic humans, and any number of other fun, interesting and potentially dangerous things.
With stories like these, the purpose of high-tech usually serves as a framing device, providing visual evidence that the story is indeed taking place in the future. In other words, it serves a creative and fun purpose, without much thought being given towards exploring the deeper issues of technological progress and determinism. But this not be the case, and oftentimes with science fiction, high-tech serves a different purpose altogether.
In many other cases, the advance of technology is directly tied to the plot and the nature of the story. Consider cyberpunk novels like Neuromancer and the other novels of William Gibson’s Sprawl Trilogy. In these and other cyberpunk novels, the state of technology – i.e. cyberpsace decks, robotic prosthetics, biotech devices – served to illustrate the gap between rich and poor and highlighting the nature of light in a dark, gritty future.
By contrast, such post-cyberpunk novels as Neal Stephenson’s The Diamond Age took a different approach. While high-tech and its effects on society were explored in great detail, he and other authors of this sub genre chose to break with their predecessors on one key issue. Namely, they did not suppose that the emergence of high-tech would lead to dystopia, but rather an ambiguous future where both good and harm resulted.
And at the other end of the spectrum, where technology is in a low state, the purpose and intent of this is generally the same. On the one hand, it may serve as a plot framing device, illustrating how the world is in a primitive state due to the collapse of civilization as we know it, or because our unsustainable habits caught up with us and resulted in the world stepping backwards in time.
At the same time, the very fact that people live in a primitive state in any of these stories serves the purpose of commentary. Simply by showing how our lives were unsustainable, or the actions of the story’s progenitor’s so foolish, the author is making a statement and asking the reader to acknowledge and ponder the deeper issue, whether they realize it or not.
At this end of things, A Boy and His Dog and Mad Max serve as good examples. In the former case, the story takes place in a post-apocalyptic landscape where a lone boy and his genetically-engineered talking dog rove the landscape in search of food and (in the boy’s case) sexual gratification. Here, the state of technology helps to illustrate the timeless nature of the human condition, namely how we are essentially the products of our environment.
In Mad Max as well, the way roving gangs are constantly looking for gasoline, using improvised weapons, and riding around in vehicles cobbled together from various parts gives us a clear picture of what life is like in this post-collapse environment. In addition, the obvious desperation created by said collapse serves to characterize the cultural landscape, which is made up of gangs, tinpot despots, and quasi-cults seeking deliverance.
But on the other hand, the fact that the world exists in this state due to collapse after the planet’s supply of oil ran dry also provides some social commentary. By saying that the world became a dangerous, anarchistic and brutal place simply because humanity was dependent on a resource that suddenly went dry, the creators of Mad Max’s world were clearly trying to tell us something. Namely, conserve!
4. Aliens or Only Humans:
Another very important question for setting the scene in a science fiction story is whether or not extra-terrestrials are involved. Is humanity still alone in the universe, or have they broken that invisible barrier that lies between them and the discovery of other sentient life forms? Once again, the answer to this question has a profound effect on the nature of the story, and it can take many forms.
For starters, if the picture is devoid of aliens, then the focus of the story will certainly be inward, looking at human nature, issues of identity, and how our environment serves to shape us. But if there are aliens, either a single species or several dozen, then the chances are, humanity is a united species and the aliens serve as the “others”, either as a window into our own nature, or as an exploration into the awe and wonder of First Contact.
As case studies for the former category, let us consider the Dune, Foundation, and Firefly universes. In each of these, humanity has become an interstellar species, but has yet to find other sentiences like itself. And in each of these, human nature and weaknesses appear to be very much a constant, with war, petty rivalries and division a costant. Basically, in the absence of an “other”, humanity is focused on itself and the things that divide it.
In Dune, for example, a galaxy-spanning human race has settled millions of worlds, and each world has given rise to its own identity – with some appearing very much alien to another. Their are the “navigators”, beings that have mutated their minds and bodies through constant exposure to spice. Then there are the Tleilaxu, a race of genetic manipulators who breed humans from dead tissue and produce eunuch “Face Dancers” that can assume any identity.
Basically, in the absence of aliens, human beings have become amorphous in terms of their sense of self, with some altering themselves to the point that they are no longer even considered human to their bretherin. And all the while, humanity’s biggest fight is with itself, with rival houses vying for power, the Emperor gaurding his dominance, and the Guild and various orders looking to ensure that the resource upon which all civilization depends continues to flow.
In the Foundation universe, things are slightly less complicated; but again, the focus is entirely inward. Faced with the imminent decline and collapse of this civilization, Hari Seldon invents the tool known as “Psychohistory”. This science is dedicated to anticipating the behavior of large groups of people, and becomes a roadmap to recovery for a small group of Foundationists who seek to preserve the light of civilization once the empire is gone.
The series then chronicles their adventures, first in establishing their world and becoming a major power in the periphery – where Imperial power declines first – and then rebuilding the Empire once it finally and fully collapses. Along the way, some unforeseen challenges arise, but Seldon’s Plan prevails and the Empire is restored. In short, it’s all about humans trying to understand the nature of human civilization, so they can control it a little better.
Last, but not least, their is the Firefly universe which – despite the show’s short run – showed itself to be in-depth and interestingly detailed. Basically, the many worlds that make up “The Verse” are divided along quasi-national lines. The core worlds constitute the Alliance, the most advanced and well-off worlds in the system that are constantly trying to expand to bring the entire system under its rule.
The Independents, we learn early in the story, were a coalition of worlds immediately outside the core worlds that fought these attempts, and lost. The Border Worlds, meanwhile, are those planets farthest from the core where life is backwards and “uncivilized” by comparison. All of this serves to illustrate the power space and place have over human identity, and how hierarchy, power struggles and divisiveness are still very much a part of us.
But in universes where aliens are common, then things are a little bit different. In these science fiction universes, where human beings are merely one of many intelligent species finding their way in the cosmos, extra-terrestrials serve to make us look outward and inward at the same time. In this vein, the cases of Babylon 5, and 2001: A Space Odyssey provide the perfect range of examples.
In B5 – much as with Stark Trek, Star Gate, or a slew of other franchises – aliens serve as a mirror for the human condition. By presenting humanity with alien cultures, all of whom have their own particular quarks and flaws, we are given a meter stick with which to measure ourselves. And in B5‘s case, this was done rather brilliantly – with younger races learning from older ones, seeking wisdom from species so evolved that often they are not even physical entities.
However, in time the younger race discover that the oldest (i.e. the Shadows, Vorlons, and First Ones) are not above being flawed themselves. They too are subject to fear, arrogance, and going to war over ideology. The only difference is, when they do it the consequences are far graver! In addition, these races themselves come to see that the ongoing war between them and their proxies has become a senseless, self-perpetuating mistake. Echoes of human frailty there!
In 2001: A Space Odyssey, much the same is true of the Firstborn, a race of aliens so ancient that they too are no longer physical beings, but uploaded intelligences that travel through the cosmos using sleek, seamless, impenetrable slabs (the monoliths). As we learn in the course of the story, this race has existed for eons, and has been seeking out life with the intention of helping it to achieve sentience.
This mission brought them to Earth when humanity was still in its primordial, high-order primate phase. After tinkering with our evolution, these aliens stood back and watched us evolve, until the day that we began to reach out into the cosmos ourselves and began to discover some of the tools they left behind. These include the Tycho Monolith Anomaly-1 (TMA-1) on the Moon, and the even larger one in orbit around Jupiter’s moon of Europa.
After making contact with this monolith twice, first with the American vessel Discovery and then the joint Russian-American Alexei Leonov, the people of Earth realize that the Firstborn are still at work, looking to turn Jupiter into a sun so that life on Europa (confined to the warm oceans beneath its icy shell) will finally be able to flourish. Humanity is both astounded and humbled to learn that it is not alone in the universe, and wary of its new neighbors.
This story, rather than using aliens as a mirror for humanity’s own nature, uses a far more evolved species to provide a contrast to our own. This has the same effect, in that it forces us to take a look at ourselves and assess our flaws. But instead of showing those flaws in another, it showcases the kind of potential we have. Surely, if the Firstborn could achieve such lengths of evolutionary and technological development, surely we can too!
Finally, there is the big question of the qualitative state of humanity and life in this future universe. Will life be good, bad, ugly, or somewhere in between? And will humanity in this narrative be better, worse, or the same as it now? It is the questions of outlook, whether it is pessimistic, optimistic, realistic, or something else entirely which must concern a science fiction writer sooner or later.
Given that the genre evolved as a way of commenting on contemporary trends and offering insight into their effect on us, this should come as no surprise. When looking at where we are going and how things are going to change, one cannot help but delve into what it is that defines this thing we know as “humanity”. And when it comes right down to it, there are a few schools of thought that thousands of years of scholarship and philosophy have provided us with.
Consider the dystopian school, which essentially posits that mankind is a selfish, brutish, and essentially evil creature that only ever seeks to do right by himself, rather than other creatures. Out of this school of thought has come many masterful works of science fiction, which show humanity to be oppressive to its own, anthropocentric to aliens and other life forms, and indifferent to the destruction and waste it leaves in its wake.
And of course, there’s the even older Utopia school, which presents us with a future where mankind’s inherent flaws and bad behavior have been overcome through a combination of technological progress, political reform, social evolution, and good old fashioned reason. In these worlds, the angels of humanity’s nature have won the day, having proven superior to humanity’s devils.
In the literally realm, 1984 is again a perfect example of dytopian sci=fi, where the totalitarian rule of the few is based entirely on selfishness and the desire for dominance over others. According to O’Brien, the Party’s mouthpiece in the story, their philosophy in quite simple:
The Party seeks power entirely for its own sake. We are not interested in the good of others; we are interested solely in power. Power is in inflicting pain and humiliation. Power is in tearing human minds to pieces and putting them together again in new shapes of your own choosing. If you want a picture of the future, imagine a boot stamping on a human face — forever.
Hard to argue with something so brutal and unapologetic, isn’t it? In Orwell’s case, the future would be shaped by ongoing war, deprivation, propaganda, fear, torture, humiliation, and brutality. In short, man’s endless capacity to inflict pain and suffering on others.
Aldous Huxley took a different approach in his seminal dystopian work, Brave New World, in which he posited that civilization would come to be ruled based on man’s endless appetite for pleasure, indifference and distraction. Personal freedom and individuality would be eliminated, yes, but apparently for man’s own good rather than the twisted designs of a few true-believers:
Universal happiness keeps the wheels steadily turning; truth and beauty can’t. And, of course, whenever the masses seized political power, then it was happiness rather than truth and beauty that mattered… People were ready to have even their appetites controlled then. Anything for a quiet life. We’ve gone on controlling ever since. It hasn’t been very good for truth, of course. But it’s been very good for happiness. One can’t have something for nothing. Happiness has got to be paid for.
But even though the means are entirely different, the basic aim is the same. Deprive humanity of his basic freedom and the potential to do wrong in order to ensure stability and long-term rule. In the end, a darker, more cynical view of humanity and the path that we are on characterized these classic examples of dystopia and all those that would come to be inspired them.
As for Utopian fiction, H.G. Wells’ Men Like Gods is a very appropriate example. In this novel, a contemporary journalist finds himself hurled through time into 3000 years into the future where humanity lives in a global state named Utopia, and where the “Five Principles of Liberty” – privacy, free movement, unlimited knowledge, truthfulness, and free discussion and criticism – are the only law.
After staying with them for a month, the protogonist returns home with renewed vigor and is now committed to the “Great Revolution that is afoot on Earth; that marches and will never desist nor rest again until old Earth is one city and Utopia set up therein.” In short, like most Positivists of his day, Wells believed that the march of progress would lead to a future golden age where humanity would shed it’s primitive habits and finally live up to its full potential.
This view would prove to have a profound influence on futurist writers like Asimov and Clarke. In the latter case, he would come to express similar sentiments in both the Space Odyssey series and his novel Childhood’s End. In both cases, humanity found itself confronted with alien beings of superior technology and sophistication, and eventually was able to better itself by opening itself up to their influence.
In both series, humanity is shown the way to betterment (often against their will) by cosmic intelligences far more advanced than their own. But despite the obvious questions about conquest, loss of freedom, individuality, and identity, Clarke presents this as a good thing. Humanity, he believed, had great potential, and would embrace it, even if it had to be carried kicking and screaming.
And just like H.G Wells, Clarke, Asimov, and a great many of his futurist contemporaries believes that the ongoing and expanding applications of science and technology would be what led to humanity’s betterment. A commitment to this, they believed, would eschew humanity’s dependence on religion, superstition, passion and petty emotion; basically, all the things that made us go to war and behave badly in the first place.
These are by no means the only considerations one must make before penning a science fiction story, but I think they provide a pretty good picture of the big-ticket items. At least the ones that keep me preoccupied when I’m writing! In the end, knowing where you stand on the questions of location, content, tone and feel, and what your basic conception of the future, is all part of the creation process.
In other words, you need to figure out what you’re trying to say and how you want to say it before you can go to town. In the meantime, I say to all aspiring and established science fiction writers alike: keep pondering, keep dreaming, and keep reaching for them stars!