Razor Mountain — Chapter 1.2

Christopher sat in the pilot’s seat. He still felt like a passenger, panic-stricken and helpless while his body seemed to act of its own accord. There was some part of him that knew what it was doing. A part he wasn’t familiar with. A part that took in the situation without emotion and formulated a plan.

The lights and screens in front of Christopher flickered and died. He had touched nothing. The noise of the engines changed timbre, then cut out entirely, leaving only the roar of the wind.

He looked for landmarks through the windows. If he was anywhere close to his original destination, the only human habitation this far north would be small towns and villages. He didn’t see any lights on the ground.

Tentatively, he gripped the flight stick. This felt like a point of no return. He knew nothing about the plane, but it had apparently been flying itself. Was there an autopilot? In any case, he was introducing his own control into the equation. Whatever happened next, good or bad, would be his own fault.

The plane was going to crash. That was an inescapable fact. He probably couldn’t land a plane under the best conditions. Were there parachutes? He didn’t know where they would be.

A crash would almost certainly kill him. People survived plane crashes sometimes, but it was all down to luck. Would it be better to jump? Avoid the crash altogether? Without a parachute, he’d be splattered across some mountainside.

People jumped out of planes in action movies. They’d jump an absurdly long distance, land in water, and be running and gunning a scene later. Of course, that wasn’t real life. Still, real people jumped long distances into water. Cliff divers. Olympic divers.

He tried turning the plane, ever so slightly to the left. His instinct told him that he would have to really muscle the yoke, but it was actually a lot like driving a car. The plane slowly banked to the left. The nose nudged forward as well, and Christopher had to pull back to keep it level.

It was eerily quiet without the sound of the engines, leaving only the noise of the wind across the outside of the craft.
Christopher continued to bank gradually left, afraid that any attempt at a tighter turn would send the craft spinning out of control. He squinted into the dark landscape below, looking for the telltale glint of moonlight on water. All he saw was a shadowy mix of pines and rocky ridges.

When he finally saw water, he immediately realized he had two major problems. First, it was difficult to tell exactly where the water was. A glint here or there didn’t tell him how big the body of water was, or where the shore was. Second, he was very high, moving very fast. He didn’t know how big the waves on a placid mountain lake might be, but they were barely pinpricks of light from his vantage.

He tried to hold the plane in a wide, lazy spiral, in hopes of slowly descending while keeping the lake in view. The plane felt sluggish, and Christopher quickly discovered that his own internal sense of balance was fighting him up in the air. There was no flat horizon for reference. He was surrounded by jagged peaks, indistinct against the clouded sky. He felt the plane accelerating, nose too far forward, but when he pulled back to compensate, he had the sudden sensation that the nose was far too high, headed toward a catastrophic stall.

Christopher felt panic reaching up from his stomach into his chest. He he had been holding his breath, and his teeth hurt from clenching. He had no training. There was no way he could keep the plane level, and it was even more far-fetched that he’d be able to manage a nice spiral down to the water.

Instead, he turned the plane until the moon was more or less behind him, then tipped the nose down. He thought the water was beneath and perhaps behind him now. The plane was descending fast. The trees below, still indistinct, felt uncomfortably close. Facing the nearby mountains, snow-dusted ridges aglow in the moonlight, he realized that he was now below the tops of the larger peaks. If he kept going, he would crash head-on.

He continued in the same direction as long as he dared, feeling like he could vomit at any moment. He could only guess at the distances. Finally, he began to turn. He kept the nose of the plane slightly down, and felt the pressure of the g-forces before he realized he was in a much tighter turn than before. The entire airplane shook.

“Jesus, Jesus, Jesus,” Christopher said under his breath, yanking the control back the other direction. Now the nose was too high. Christopher could see stars peaking through the clouds, directly ahead. He couldn’t see the ground.

His mind was blank with fear. He had no idea how to control this thing. He was going to die.

At that moment, an overwhelming sense of detachment hit him. He felt his adrenaline-soaked body, but it was like a machine he was driving — one step removed from him. Likewise, his panicked thoughts were muffled, like someone was shouting in a room down the hall.

That other part of Christopher, detached from the emotion and the bodily chemicals, guided him. Look for the moon. Aim toward it. Find the moonlight on the water as you approach.

It wasn’t like talking to himself, where he was really carrying both sides of a conversation. This felt more like some internal filter had shut down. Like a door had opened in his chest, allowing these instructions in his guts to make their way up to his brain.

Wherever the instructions came from, they had a better grip on the situation than he did, so he did his best to follow them. With the nose of the aircraft already too high in the sky, it wasn’t hard to find the moon, still some 45 degrees to his left. He stopped fighting the controls and let the plane continue its too-tight bank toward the moonlight. He did his best to tip the nose back toward the earth.

The moon moved toward the center of the windshield, then continued past, still accelerating. Christopher pulled back slowly, still keeping the nose down. He nearly fell out of the seat. The plane shook so hard he thought it might break in half. The moon was high and at an angle now, but coming back in the right direction.

The clouds around the moon parted, imparting fresh light on the landscape, and Christopher became aware of a ridge as the plane was passing over it. It could have been five feet below, or fifty.

He didn’t see the glint of the moon on the water until it was already beneath the plane. How big was the lake? Was it too late now? Wasn’t he still too high up?

It doesn’t matter, the internal voice told him. There was no way he could bring the plane around again, and even if he could, the moon would be behind him and it would be nearly impossible to see the water. It wouldn’t matter how high he was.
Jump now, and there’s a chance. Wait, and there isn’t.

Christopher forced himself to let go of the controls, jumped out of the seat and tried to run down the narrow aisle between seats. He misjudged how tilted the plane was, and veered hard into a seat, knocking the breath out of him.

He continued down the aisle, struggling to breathe, grabbing the chair backs and pulling himself more than walking. The nose of the plane was plunging now. He reached the back of the plane, the rearmost seat quickly becoming a ledge that held him on a steepening slope. His backpack and the other luggage strained at the netting that held them. There would be no time to extricate anything.

Christopher half-crawled, half-climbed the rear seat to reach the doorway. It had a lever slightly inset, with a helpful red arrow painted beneath. He pulled it in the indicated direction with a satisfying “thunk.” It barely opened, thrumming in the wind.

Christopher had expected it to slam open or even be torn off, but the door faced the wrong direction — the airflow was holding it closed. He gave it a shove, but was only able to move it an inch or two before it slammed back.

He found a foothold in the metal connections between the seat and the floor, pressed his back and shoulder against the door, and pushed. The handle dug into his back. The door gave a few inches, and he held it, trying to push hard enough to lock his knees. The gap was wide enough to force an arm through. He took a deep breath and shoved again, trying to force his upper body through. As the roaring wind whipped at his hair, he tried not to imagine what would happen if the door slammed shut with his head in it.

Squirming and shoving, Christopher forced his upper body through the door and became intensely aware that he was hanging out of a plane. The clawing fear in his chest tried to reassert itself, but the calm calculation that was driving him left no room for doubt.

What he was doing was insane. He would probably die. But the alternative was to definitely die. There was no time, and there was no room for argument.

He pushed with arms and legs, the metal door scraping his back and stomach and tearing the hem of his shirt. He felt a button pop, and then, as though that were the last thing holding him in, he slid out of the aircraft and into the night sky.

He tumbled violently end-over-end, first screaming and then vomiting into the cold night air. He wanted to curl into a ball, to hide from the wind that tore at him, but that quiet internal voice told him he needed to stabilize and orient himself. He flung his arms and legs out wide, centrifugal force aiding him against the wind, his tumble slowing to a ponderous pirouette.

A shoe tumbled past. It was his own, pulled off his foot as he slid through the plane door.

There was a sudden flash of light, an instant sunrise, followed a fraction of a second later by a shockwave of heat and noise. Christopher had just enough time to register a fireball outlining trees and rocks in searing light, and pull his limbs in before he was engulfed in pain.

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Razor Mountain — Chapter 1.1

The cave was night-dark and claustrophobic, crowded with indistinct shapes. Christopher struggled to identify his surroundings through eyes bleary with sleep. All around him was loud buzzing; it permeated his body. He pressed his palms to his eyes and breathed deep, trying to clear his head.

His surroundings were shadowy, but Christopher could make more sense of the shapes around him as he blinked away his grogginess. The hunched shapes were seats. He fumbled around, felt the thin padding beneath and behind him, felt the armrests.

Christopher’s perception shifted and he understood what he was seeing. Not a cave; an airplane cabin. Why had he thought it was a cave? Moonlight illuminated the small, round windows. The prop engines buzzed. Now that he was paying attention, Christopher could feel their vibration through his seat.

He tried again to blink away the sleepiness that clung like cobwebs. Even when he had pulled all-nighters in college, he hadn’t felt this brain-dead. This was worse than a hangover.

The other salespeople had warned him against sleeping on planes. Better to hold out and hit a new time zone running. They all had their little rituals and superstitions for effective travel. He had rolled his eyes, but it all seemed less absurd now, as his brain pounded against his skull.

He tried to stand and found himself still seat-belted. He fumbled the clasp open and got to his feet, immediately banging his head on the sloped ceiling above. For a moment, pain cut through the fog of his thoughts.

It was too dark in the passenger section of the little plane. Before he had dozed off, Christopher recalled little LEDs along the aisle floor between the seats, and recessed lights hidden in the seam between wall and ceiling. This little plane had pairs of seats back-to-back, and he was facing the tail. He had to turn around to face the front of the plane. There were only eight pairs of seats in the passenger area, and Christopher’s was in the middle.

The seats were all empty.

Christopher took a few tentative steps forward, sidling up the narrow aisle. Nobody was slouching or sleeping against the window. The seats were definitely empty. Hadn’t there been passengers on the plane with him?

He struggled to remember, stepping back toward his own seat. There were two pairs of seats ahead of him, and one pair behind. Beyond that was the tiny toilet that faced the boarding door, the privacy curtain open, the toilet unoccupied. What little space was left in the tail end was taken up by the luggage area, separated from the passengers by netting that attached to hooks along the walls, floor and ceiling. The netting was detached from several of the floor hooks. Christopher’s travel backpack lay on the other side, next to a black duffel bag and a large travel suitcase with a blue and green floral pattern. Those other bags weren’t his. They had to belong to someone.

He tried to think back to boarding the little plane in Anchorage. It felt like a long time ago. Christopher had never tried any drugs stronger than alcohol or coffee, but he wondered if this was what it might feel like. Like there was a gauzy separation between his sense of self and the thinking part of his brain.

There had been a person, a man, who had stepped onto the plane before him. Younger, Christopher thought. Dark hair, parted. Jeans and a brown sport coat. The coat stood out vividly. It was a very “70s TV professor” look that reminded Christopher vaguely of the suit his father had worn in old wedding photos.

There had been a middle-aged woman too. Older than Christopher, maybe in her forties? She had boarded after him and gone to one of the front seats. All he could picture of her was a tight bun of blond hair, loose wisps of gray at her temples.

Had they landed and taken off again, all while he slept? Wasn’t it a direct flight? He found his boarding pass in his pocket, but it was impossible to read the smudged text on the low-res picture of Alaskan mountains and forests. Why was it so dark?

In the curve where ceiling met wall above each seat, there were shapes and depressions. Christopher ran a hand along them, trying to find some button or control for the lights. He found what felt like a vent, and what might be a light in a sort of ball socket that allowed it to rotate. There was no control for the light, as far as he could tell.

The plane shuddered and lurched, forcing Christopher to grab on to the seat back. He froze as a thought meandered through the maze of his brain. He looked toward the front of the plane.

He had only ever flown on large commercial flights. He was used to thinking of the passenger area of the plane being a separate universe from the pilot’s cabin. He had vague memories of a time before 9/11 when kids could meet the pilot in the middle of a flight and the cockpit was wide open and friendly, but all of his adult life, the doors to the front of any passenger plane had been locked like a vault.

On this little plane, however, there was only a curtain between the eight passenger seats and the two-seat cockpit of the plane. Christopher could ask the pilot to turn on the interior lights. He could ask what had happened to the other two passengers. He’d probably feel like a fool when the pilot explained the flight plan that was no doubt printed on his boarding pass.

He felt a heart-thumping trepidation sidling up the aisle toward the cockpit. He tried to think exactly what he wanted to ask the pilot. The plane lurched again, and Christopher fell forward. He tried to grab the faux-wooden partition that bordered the curtain, but missed and got tangled in the curtain itself.

The curtain was attached to a rail with metal rings, and there was a series of snaps as they tore away. The curtain slid to the side, and Christopher stumbled awkwardly against the partition, halfway into the cockpit, left arm still wrapped in the curtain.
The only light in the cockpit came from the glow of the instruments: panels of LEDs, switches, buttons, dials and levers, and three small monitors. They illuminated two empty seats.

Christopher stared at the myriad instruments for a moment. The monitors showed a little representation of the plane superimposed over lines that must be altitude or angle or something, and a crawling topographic map of mountainous terrain, overlaid with dozens of readouts, numbers, dials and graphs.

Christopher knew there were reasonable explanations for the missing passengers. He had no trouble coming up with potential explanations for that. When he saw the pilot’s seat empty, however, his mind stopped working for a moment. There was no explanation for Christopher being on a plane with no pilot.

He looked through the front windshield. They were definitely in the air. The moon was visible among wispy clouds, off to the left. The darkness below was rough and textured: pine forest and snowy rock. Glints of moonlight on water. The ground appeared worryingly close, but it was difficult to tell by the moonlight.

Christopher could feel his own heart, beating too fast in his chest. He heard his breathing over the buzz of the prop engines. He looked past the curtain, down the aisle to the luggage area at the back of the plane. He was incredibly alone.

The mental fog that had surrounded him since he woke now threatened to envelop him completely. He was numb. He was aware of his own hands shaking, but he couldn’t feel them. His body was something entirely disconnected from him.

He felt something else: a wordless voice, a stream of dispassionate information at the back of his head. It told him, with neither interest or judgment, that he needed to act immediately or he was going to die.

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Guessing the Future for Science Fiction

Taking on the role of oracle is one of the greatest joys and biggest challenges of writing science fiction. There’s something magical about reading a story that unveils entirely new ideas, technologies, or shifts in society, only to see those things come to pass a few years down the road.

It can be equally interesting to look at less accurate “futures” from bygone eras and see how they turned out wrong. What does the hopeful and often hubris-filled science fiction of the post-WWII era say about the society that generated it? What about the gritty and depressing dystopias crafted in the ’80s?

Guessing the future isn’t easy. Occasionally, we get it right and look prescient. More often, we get it wrong in some way or another. But we can at least perform our due diligence by building our fantastic futures on the mundane foundation of the present.

Hard and Soft Science Fiction

There is a stylistic split in the genre of science fiction. It’s not a hard line; it’s more like a gradient. “Hard” science fiction does it’s best to extrapolate from the present in a straight line. In hard SF, the future should be explainable. It should follow logically from what we see in the present. “Soft” science fiction cares less about explanations, crafting futures that are convenient to the story, without worrying so much about the through-line between the present and the future.

In practice, no science fiction story can completely describe all the events and technologies that led from the present to that particular future. There is no perfectly hard sci-fi. And some stories will simply have less to explain. They won’t be as concerned with the technological nitty-gritty of the future.

Still, when we think in these terms, it’s easy to start placing different stories somewhere closer to the hard or soft end of the spectrum. The Mars trilogy by Kim Stanley Robinson is fairly hard, concerning itself greatly with the details of the technology and grounded in cutting-edge space travel research. Meanwhile, Herbert’s Dune books or the Star Wars movies are fairly soft. The setting and the technologies serve the story, and little explanation is provided for their provenance.

More distance from the here and now, be it temporal (“a long, long time ago”) or physical (“a galaxy far, far away”) is going to add softness. The future imagined in Dune is so many thousands of years in the future that the intervening time couldn’t possibly be accounted for within the text. In fact, after Herbert’s death, a whole swath of Dune books were written to fill in some of that intervening time.

Focus

If you accept that your story is going to be soft science fiction, you may not have to worry too much about extrapolating. Perhaps you’re writing an allegory, where the future setting only serves to contrast with the present day. Perhaps you’re writing a fantasy story, and the backdrop of spaceships and laser swords are purely aesthetic.

Assuming you’re writing harder sci-fi, you’re going to need to decide what your areas of focus will be. Do you want to explore future technologies? Do you want to explore how they might change life for individuals, or across larger swaths of society?

Science fiction must tell a story, but it has the added burden of building and explaining its world as the story unfolds. Every story has a limited number of words it can spend building the world. By choosing specific areas of focus, you can maximize those words, and cut passages that stray too far from those areas.

Find the Starting Points

To build a future, you have to start in the present. There are always interesting things happening in the world. Which of those things relate to your areas of focus? This is the research stage of the project, where you’ll need to look at what trends or technologies already exist, or perhaps what scientists are actively studying in the field.

For example, let’s look at some technologies I’m interested in for one particular story. I’m interested in augmented reality (AR), intertwining of digital and physical worlds, and the increasing power of hackers to affect physical objects and systems as they become integrated with the internet.

For this project, I would look into the various VR headsets and the sorts of applications people are running on them. What about low-cost alternatives, like Google Cardboard? What about prototypes like Google Glass? The AR functionality on modern smart phones allow me to see what furniture might look like in my house before I buy it. What else can I do?

I might also look into recent hacks that affect real-world systems. Iran’s uranium enrichment program was hacked to break their centrifuges. The US has a variety of concerns about the safety of their electrical grid.

For the combining of digital and physical worlds, I could dig into mobile games like Pokemon Go that follow the user’s real-world location to change the game-state, and use AR to project game objects onto the user’s surroundings.

Extrapolate

Once you have some starting points, you need to begin extrapolating. What are people researching today? What isn’t possible yet, but might be possible with one or two simple advances?

Computing power, internet speeds, and many other “base” technology enablers tend to increase steadily over time. If the only limitation on something today is the speed of computers, chances are good that the limitation will go away in the future. The price and size of popular technology tends to decrease over time as well. Any technology today will likely become smaller and cheaper in the future.

These are surface-level extrapolations. To go deeper, you need to think about how the technology might be used, and what it might enable. What might good and selfless people want to do with this technology as it advances? What might evil, selfish people want to do with this technology? Can it be an enabler of other technologies or societal shifts?

Technologies do not stay isolated. They don’t live in silos. They cross-pollinate, mix, and work in tandem. Sometimes they obstruct one another. How might this new thing affect other technologies, positively or negatively?

Back to the example of AR, digital/physical crossover, and hackers.

I imagine a future where AR is ubiquitous. It’s powered by mobile devices (something that’s already happening). It’s displayed on glasses (similar to Google Glass), and it’s controlled with a strap around the fingers, for motion control (a streamlining of Nintendo’s console controllers, Microsoft Kinect, and many similar technologies). I imagine that AR could use mobile location technology to provide location-relevant data. A bluetooth “beacon” might also transmit to nearby devices.

With this kind of ubiquitous AR, physical objects might be unnecessary in many contexts. A clothing store might not bother with a sign out front, or even outfits on mannequins. A sign that appears to nearby shoppers in AR could be cheaper and more eye-catching. The AR outfits in the window could be tailored to each individual shopper and their search history, or on a carousel that displays hundreds of options, one after another.

The crosswalks on the road could be virtual, communicating with local traffic to determine when it’s safe to walk.

On the other hand, hackers could graffiti an AR storefront without the bother of buying spray paint and sneaking out at night. They could graffiti hundreds of storefronts from their basement. Perhaps they could convince passing mobile devices that they’d made a purchase as they passed by. If they were nefarious enough, they might alter the crosswalk algorithms so pedestrians step out in front of cars.

Technology and People

Even the hardest, most tech-oriented science fiction has characters with motivations, goals, conflicts, and challenges. Technology is only interesting in context with people, even if those people are aliens, robots, or sentient jars of mold.

Technology sometimes affects us at a personal level, affecting our behavior as individuals. Sometimes these effects are more powerful in aggregate. Many of us are familiar with the changes in personal behavior we’ve seen in the rise of social media. As societies, we’re still in the process of working out how those changes will ultimately affect our politics and our social discourse.

Technology can affect our behaviors and the ways we interact with one another. One hundred years ago, relatively few businesses had branches in multiple countries, and those branches were more independent. Now, many people in large corporations have regular phone conversations and video meetings with their counterparts around the world. Products and services are launched globally, and directed by corporate leaders halfway across the world.

Back in our example, how might ubiquitous AR affect interpersonal interactions? If I run into an acquaintance on the street, and I don’t remember her name, a quick image search of her face could help me find it and avoid embarrassment. Of course, the privacy implications of this type of technology is considerable.

We already see many people absorbed in their phones on public transport and in public spaces. When AR makes your entire range of vision into a screen, will that exacerbate the effect. Will we finally be isolated in our own little virtual bubbles, as many doomsayers have been complaining about for years?

Final Thoughts

Extrapolation is hard. Of the thousands of works of science fiction that are produced, only a few are going to hit the mark, and only some of the time. However, even if we can’t always guess the actual, literal future, we can at least produce futures that are logical, well thought-out, and internally consistent.

Internal consistency means making sure that one technology doesn’t preclude or contradict another. Some technologies are mutually exclusive. Betamax and VHS can’t both take over the world. CDs and Zip drives don’t live side-by-side indefinitely.

On the other hand, conflicting technologies can precipitate interesting societal conflicts. Does it make sense to have a future where people grow organs in labs to increase their longevity, while also developing the technology to upload human minds into computers? Maybe not. Or maybe this is what precipitates a global crisis, where we have to decide as a species whether being human requires a specific physical form or not.

If you find yourself having trouble, you might be tempted to go into the far-flung future, because there’s so much room for things to happen in the intervening time. Instead, try getting as close to the present as possible. Extrapolate tomorrow. Practice working your way outward.

Have you seen any new technologies that inspired you? What did you extrapolate from them? Let me know in the comments, and I’ll see you in the future!

Is Cyberpunk Retro-Futurism Yet?

The author of Neuromancer – the book widely considered to have kicked-off the cyberpunk genre – says it’s now a retro-future. That’s pretty interesting, considering how much high-profile cyberpunk seems to still be happening.

For those who don’t follow video games, Cyberpunk 2077 was perhaps the most hotly anticipated game of 2020 (before it ended up releasing late, dogged by accusations of employee abuse and so buggy that refunds were offered on some platforms). Blade Runner 2049 was a lauded, big-budget movie just three years ago. And most of the streaming services have their own recent cyberpunk offerings.

Through five decades, we received a steady, if inconsistent, stream of cyberpunk literature, cinema, television and games. Not only that, but it gave us an almost absurd number of ___-punk sister genres, cribbing the dystopian outsider aesthetic and patching in various kinds of technology.

Death of a Genre?

Unlike most genres that take place in the present or a particular historical era, most science fiction has a built-in shelf life. While most people might be able to look past the 2019 “future” date of the original Blade Runner or the clunky flip-phones of The Matrix, there comes a certain point where an imagined future starts to feel stale.

The parts of these retro-futures that actually came to pass seem somehow more depressing, more mundane, more obvious when we live inside them every day. The predictions that failed often seem further away than they did before, or outright absurd.

Some of cyberpunk’s staying power might owe to pop media’s perpetual mining and re-mining of nostalgia for remakes, reboots, sequels and spiritual successors. Cyberpunk has also accumulated plenty of visual and tonal markers that have been used (and abused) to provide quick and shallow style. For every Matrix, there’s an Equilibrium or Aeon Flux.

It seems clear that if cyberpunk does die, it will be a slow, sighing death. Most science-fiction genres and styles don’t go away completely. They inform the sub-genres and successors that follow, transforming or splintering.

Where is the Center of the Universe?

Back on Twitter, Aaron suggests that the future is in “Gulf Futurism, Sino Futurism, Afro Futurism.” It’s not hard to see that these are all sub-genres with very different geographical and cultural centers from old-school cyberpunk. Cyberpunk is rooted in extrapolations of 1980s American culture. Even when it goes as far afield as Hong Kong, it’s more 1980s British Hong Kong than post-handover Chinese Hong Kong. The neon hanzi are largely window-dressing.

There is certainly a deep vein of anxiety in America that suggests that the country’s cultural and economic influence on the future is waning. That refrain seems to be getting louder, not quieter. Meanwhile, other places in the world are seeing their cultural and economic influence grow at breakneck pace, even as technology upends old norms and traditions.

Gulf futurism centers the world on the Arabian Gulf, while Sino Futurism looks at the future through a Chinese lens. Afro Futurism explores futures and themes not only centered on the African continent, but also on African diaspora and the complex intersections of culture and history that brings.

Cyber, Solar, Bio or Steam

Other Twitter responses mention solarpunk and biopunk, offshoots that focus less on traditional cyberpunk technologies like AI and VR, and instead explore the consequences of things like environmental disaster, climate change, and runaway biotechnology. In a world where climate change becomes more apparent every day, these themes are more relevant than ever.

Meanwhile, there are many other derivatives that shift the aesthetic from futuristic to fantastic. Genres like steampunk and dieselpunk are more fantasy than science-fiction, enjoying anachronistic alternate universe playgrounds that are concerned with the themes of the last century rather than the themes of the upcoming one.

Fodder for the Reading List

Cyberpunk will continue, in some form or another, but it’s getting long in the tooth. Maybe its latest micro-renaissance will prove to have interesting things to say about our modern dystopian world. And even if it doesn’t, it’s interesting to see the genre splintering in so many different directions. If nothing else, these tweets have inspired me to sample some of these other sub-genres.