SCIENCE FICTION
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though remain based on scientific laws as we
know them. Though it seems that science fiction is
based on science and the material world, most
modern works are character based; science fiction
explores human life and action within the context
of a fictional but possible world. This fictional
world allows the author clearly to explore issues in
a context that is contrived, thus without the myriad
mitigating or confounding factors the real world
might present.
The genre of science fiction can be traced back
to nineteenth-century novels such as Mary Shel-
ley’s Frankenstein (1818) and Jules Verne’s novels
of the 1860s and 1870s (Journey to the Center of the
Earth and Twenty Thousand Leagues Under the
Sea). However, the term science fiction was not
widely used until the 1930s, when a group of pulp
fiction magazines featuring stories based on the
premises of modern science was established. Be-
ginning with Hugo Gernsback’s Amazing Stories
(after whom the Hugo award in science fiction
writing is named), the format was soon copied by
several other American and British publications
( John Campbell’s Astounding Science Fiction, Sci-
ence Wonder Stories). Among writers in Britain, a
genre called scientific romance grew in the years
following World War I with such writers as Olaf
Stapledon, J. D. Beresford, H. G. Wells, and Aldous
Huxley. In the United States, science fiction re-
mained primarily magazine based until the rapid
rise in the production of paperback books in the
1960s, which moved the genre from a predomi-
nance of short stories to novels. The science fiction
novel emerged as a distinct literary genre in the
second half of the century, exemplified in the
works of writers such as Isaac Asimov, Ray Brad-
bury, Arthur C. Clarke, Robert Heinlein, and Kurt
Vonnegut.
As the public became sensitized to the effects
of science through the dropping of the atomic
bomb in 1945, the development of the digital com-
puter, and new advances in biotechnology, science
fiction also became a staple for radio (Orson
Welles’s 1938 radio production of H. G. Wells’s
War of the Worlds), television (The Jetsons, The
Twighlight Zone, Star Trek, The X-Files), and film
plots (Fritz Lang’s Metropolis [1927], Stanley
Kubrick’s Dr. Strangelove [1964] and 2001: A Space
Odyssey [1968], Ridley Scott’s Blade Runner [1982]
and Alien [1979], Steven Spielberg’s E.T. [1982], and
George Lucas’s Star Wars [1977]). Although science
fiction novels continue to be popular and widely
published, a larger contemporary audience is
reached through film and television, mediums that
make it easy for audiences to suspend disbelief
and that appeal to our highly visual culture. The
plots of science fiction films tend to be more ad-
venture- and special-effects-based and less intro-
spective than the written literature, though there
are notable exceptions, such as Kubrick’s 2001: A
Space Odyssey.
Popular themes in today’s science fiction, re-
gardless of the medium, include intelligent com-
puters or robots, alternative worlds, travel to other
planets, encounters with other life forms, the fu-
ture evolution of the human race, and the ravages
of atomic destruction or biochemical warfare. Sci-
ence fiction has also spawned several subgenres in
the late twentieth century, including cyberpunk,
stories that take place in a virtual world sustained
by computers and dominated by multinational cor-
porations (William Gibson’s Neuromancer [1984]
and Scott’s film Blade Runner, based on Philip K.
Dick’s Do Androids Dream of Electric Sheep?
[1968]); ecoscience fiction, stories set in either an
ecological utopia or distopia (Vonnegut’s Galapa-
gos [1985], Spielberg’s Jurassic Park [1993], John
Brunner’s The Sheep Look Up [1972]); and feminist
science fiction (Ursula K. LeGuin’s Left Hand of
Darkness [1969], James Tiptree’s “The Women Men
Don’t See” [1973] and “The Screwfly Solution”
[1977]).
Themes related to religion
The early science fiction pulp magazines were de-
voted primarily to adventure stories in which the
exploration of religious themes or any explicit ref-
erence to religion was taboo. However, as science
fiction moved into the mediums of novel and film,
these strictures fell away. Modern science fiction
deals extensively with religion, at times explicitly,
at other times through the exploration of meta-
physical systems, the nature of humanity or of so-
cial structures, the question of mystical powers, or
the nature of moral decision making.
A number of science fiction novels have dealt
directly with the nature of God. In A Romance of
Two Worlds (1886), Marie Corelli explores the idea
of God as an electrical force. H. G. Wells explores
the nature of a finite or an unknowable God in
God the Invisible King (1917) and The Undying Fire
(1919). Mary Shelley in Frankenstein (1818), one