The handbill of science fiction is an excellent means of displaying science fiction, through the depiction of science and technology, tell us everything in the future, so what content should be written in the handbill of science fiction? The following is my handbook of sci-fi content information for everyone, let's take a look at it!
Definition of science fiction
Science fiction (science fiction) referred to as science fiction (sci-fi). Since the birth of science fiction, there have been scientific romance, science fantasy, off-trail story , different story, impossible story, scientifiction, astounding story, and many other names, and the eventually settled on science fiction
Delineation
"Soft science fiction" and "hard science fiction"
Classification of science fiction into The classification of sci-fi into "soft" and "hard" sci-fi is one of the most widely circulated within the sci-fi community. And the wide circulation is justified by the division.
2. "True sci-fi" and "pseudo-sci-fi"
There are also some people who claim that there is no such thing as hard sci-fi and soft sci-fi, only "true sci-fi" and "pseudo-sci-fi". "There are also those who claim that there is no such thing as hard or soft sci-fi, only true sci-fi and pseudo-sci-fi. These two concepts are not found in formal publications, but are often mentioned in online exchanges or private chats. I remember once I met an author and asked him what he had written recently. His reply was that a work was published. But sorry, it was pseudo-science fiction.
3. "Cognitive" and "Aesthetic"
"It is possible to divide 'cognitive' and 'aesthetic' two senses of science fiction, and the representative of the former should be Asimov, while Bradbury and Clarke exemplify the latter." (Yan Peng, "An Aesthetic Analysis of Zheng Wenguang's Science Fiction," cited in Zheng Wenguang's 70th Birthday and 59th Anniversary of Literary Creation) This is a sort of elevation of the notion of "soft and hard science fiction. However, science fiction itself, or even any narrative literary work itself, is a synthesis of "cognition" and "aesthetics". It is not valid to separate the two inseparable parts.
Representative Works
For example, a science fiction novel called Chasing the Sun. The plot of the story is that a lunar expedition has an accident and loses energy. The only surviving female astronaut has to wait for rescue from Earth. But she has to keep her spacesuit warm under the conditions of the loss of energy. So she "chases the sun" on foot, keeping herself in the sunlight throughout her "day" on the Moon. The clue here is that because the Moon's gravity is less than Earth's, a man can physically circumnavigate the Moon in one lunar day. Asimov's "The Splash of Blood on the Musical Clock" tells a detective story. The `clue` that finally solves the case is that the suspect is physically unable to adjust to Earth's gravity because he has just returned from the moon. These are examples of setting creativity on an astronomical basis.
Asimov`s famous `A Strange Voyage` is more typical. This work depicts scientists shrinking people down to the size of a cell and entering them to navigate around the body. The work sprouted a rich subgenre of science fiction themes, such as the American film Inner Space, and contemporary young Chinese science fiction author Zhou Yukun's Brainworld, which are all masterpieces in this regard. This idea has no scientific possibility at all, and from the perspective of prophecy, it is not as close to reality as medical "drug guidance technology" or "nano-robotics". But it is obviously extremely interesting to write in this way. Interesting, the literary purpose, is the starting point for this kind of subject matter.
To this day, most of the science fiction that people habitually call "hard science fiction" is creative science fiction, except for a very small number of prophetic science fiction. The science fiction community has not been able to separate the two types of works. In fact, focusing on different works by the same classic author will help us figure this out. For example, Belyaev's creation, "The Sea Planter," perfectly mirrors the prospects of ocean development at the time. His Leap into the Void, on the other hand, was conceived after studying Tsiolkovsky's monograph. Qi himself had written science fiction to publicize his ideas, but it had little impact. So it was with pleasure that he ordered the pen to write the foreword to this full-length work.
And his Bread of Eternity, and Alieri the Flying Man, clearly had nothing to do with the frontiers of science. And The Last Atlantic Man is typical of pure sci-fi creativity.
Creative sci-fi is rich in science, but it has absolutely nothing to do with real-world scientific research, and that's what many sci-fi fans don't understand. Claims that sci-fi is a hotbed of science are mostly a misunderstanding of the nature of creative sci-fi.
Categories
Creative sci-fi
Symbolic sci-fi
Legendary sci-fi
Anti-sci-fi
Meta-sci-fi
Sci-fi styles
Linguistic sci-fi
Lyrical Science Fiction
Humorous Science Fiction
Dystopian Science Fiction
Horror Science Fiction
Chinese Science Fiction Writers
Liu Cixin is now a leading figure in China's sci-fi community, and his works have been widely praised for their grandiose atmospherics and brilliant imagery. His science fiction novels successfully combine extreme ethereality and heavy reality, while focusing on expressing the connotations and aesthetics of science, in an effort to create a style of science fiction literature with Chinese characteristics.
Wang Jinkang's works emphasize on characterization, mostly set in China, with biology as the main theme, and with a profoundly discursive theme.
He Xi's works are grandiose and peculiar, with a strong tragic color and literary influence.
Mr. Wu Yan was the first person in China to start a science fiction elective course in an institution of higher learning, and many science fiction authors, such as Xinghe, Yang Ping, Yan Peng, Yang Peng, and so on, were the new stars of science fiction who came out from his class. At the same time, he has made significant contributions to the development of Chinese science fiction in China.
Han Song is the only Master of Arts among the third generation of Chinese sci-fi authors, and his writings are thought-provoking, profound, and soul-stirring.
Xinghe is one of the brightest stars in Chinese science fiction literature in recent years. His early works have opened up a new world for Chinese sci-fi, mainly with his first-person perspective and characteristic heroism, personalized language, and brilliant plots.
Pan Haitian's articles are very much like a beautiful rainbow after a rain, beautiful and magnificent. Many people read an article once, and then there is no need to read a second one, while Pan Haitian's articles you can read three or four times, and then go back to the memory, the mood is still very beautiful.
Zhou Yukun is currently the most rising young sci-fi author, the winner of the first prize of the 98th Galaxy Award, he is one of the few hard sci-fi authors, and his meticulous plotting is what Zhou Yukun does best.
Yang Ping, probably the music of passion, created his distinctive style of writing. Refined language, accurate expression, and forward-thinking awareness are all refreshing to readers.
Ling Chen is the best female sci-fi writer in China at present, with beautiful writing and delicate feelings, and she has portrayed one beautiful character after another with the sharp strokes unique to female authors.
Zhao Haihong is another excellent female sci-fi writer right after Weimu, with smooth writing, vivid narratives, and fascinating stories. Recently, she has started to translate a lot of foreign sci-fi works, bringing us more "food".
Zheng Jun is passionate about writing popular science fiction, and in his writing, reality and science fiction are organically combined.
Zheng Jun is a passionate writer of popular science fiction.