Voyant – A Semester in Review

Voyant has allowed for an interesting review of my web journey through sci-fi from this past semester.  The changing trends in my searches painted an interesting picture of how my interest in SF has developed over the past few weeks.

Many of my early searches were just looking into SF very generally.  Searches like Science Fiction + “pop culture”, “famous”, “influential”, “best”, “movies”, “books”, etc.  Things like Star Wars and Dune seem to have such a massive and passionate following that they continued to pop up across many of these searches.  Both Star Wars and Dune made it on this final word web.  Then I started to refocus on science fiction in the medium of video games, which I spent much of the semester writing about on my website. “Game” and “games” are both in the top 10 most frequently appearing words from my searches.  But the top 3 searches really reflect the interest that started to develop in the middle of the semester: “Science”, “Fiction”, and “Fantasy”.

Science, Fiction, and Fantasy were definitively my top 3 results across all my searches.  In a class based entirely around science fiction, the fact that “Science” and “Fiction” made the cut may not be very surprising but “Fantasy” may seem a little more out of place.  I’ve loved the Fantasy genre since long before this class.  Adventures of old, medieval magics, and Lord of the Rings have always interested me and I became interested by the overlap between fantasy and SF.  Things like Star Wars had the qualities of an epic adventure that I loved about fantasy but reigned as a definitive part of SF, so I started to look into the distinction between Science Fiction and Fantasy.  What I found were many articles and discussions surrounding the idea of “Science Fantasy,” a hybrid combination of the two genres.  The further I explored this distinction, the more I saw debate online over what works belong in SF, Fantasy, or Science Fantasy.  I became interested in where things like Iron Man or other superheroes fell within this distinction.  More and more I found heated arguments and strong opinions about why certain works should be definitively excluded from being considered SF or Fantasy.  It seemed that no work was safe from critique – many people argued that even Star Wars, perhaps the most popular SF works of all time, should absolutely not be considered science fiction as it was science fantasy (these arguments often centered around the idea of the force as being rooted in the mystical instead of in the scientific).

This felt strange to me so I started to search about it and found the discussion surrounding gatekeeping in SF.  The idea that some people passionate about SF were trying to define the SF in incredibly restrictive ways.  It turns out that gatekeeping is an issue that some SF authors are familiar with and have spoken out against because it unnecessarily limits what can be considered “science fiction” and makes it hard for newcomers to SF to actually enjoy the genre. That is an idea that matches the tone of this class – that the distinction what makes a work SF is incredibly broad.

So, my semester in review covers my initial interest in popular science fiction, my shift to SF video games, and my interest in the relationship between Fantasy and Science fiction.

Rocket League (SFVG)

This week my brother Matt (a sophomore here at Bowdoin) and I have had a lot of time (due to social isolation) to play some two player games.  One of our favorites has been Rocket League, “a high-powered hybrid of arcade-style soccer and vehicular mayhem with easy-to-understand controls and fluid, physics-driven competition” (according to the game’s website).  Rocket League places players in the driver seats of futuristic laser-propelled cars that can twist, turn, and even fly through the air of sleek stadiums.  The game’s flashy visuals are full of sleek curves and vibrant neons.  These visuals, combined with satisfyingly fluid and responsive controls, make for an incredibly fun and fast paced experience.

This game certainly would not be the first thing to come to mind when thinking about sci-fi video games, but many of its elements do scream a certain futuristic element.  The cars, ball, and stadiums all radiate with a future-tech glow.  The cars can reach turbo-speeds when infused with boost scattered around the arena.  The boosts can take many forms but some of the most classic forms are laser beams that jut out from the rear exhaust.  Some boosts are references to other SF titles, like the laser trails from Tron’s iconic laser bikes.  The cosmetics for wheels, paints, and car toppers also often feature sleek glowing designs and reference SF titles like Rick and Morty, Beat Saber, Portal 1 & 2, Mad Max, Fallout, Dying Light, Oddworld, Warframe, Blacklight: Retribution, Back to the Future, etc.  Even the cosmetics that aren’t references to specific SF titles still convey a strong SF vibe.  For example, a wheel selection titled “Mothership” features rubber lined by a grid of glowing green streaks.  Antenna toppers take forms like classic UFOs or the iconic green alien heads.

The arenas are often full of neons, sleek curves, and lasers and come alive with scored goals, which are often accompanied by futuristic laser-light-show explosions that reverberate through
the stadium.

Although it isn’t advertised as a SF game, Rocket League’s premise is based on future tech-infused vehicles competing in sleek, futuristic stadiums.  Because much of the appeal of Rocket League seems to come from the fluid simple controls and the vibrant futuristic visuals, it shares similarities with many of the games that fall into the Flashy Flash category of our examination.  At the same time, consistent updates have made Rocket League a much larger and more substantial game than many of the other Flashy Flash games.  If you are looking for a fun game to play with friends at home or online, Rocket League has a lot of great content beautifully packaged in a sleek, neon, futuristic design.

Fish and Wildlife Return to Quarantined Venice

Here is an article about how, due to a quarantine-induced drop in human outdoor activity, fish and other wildlife (including some dolphins) have been returning to the canals in Venice.

Link to Article

This news isn’t sci-fi but it did remind me of the video that we watched together in class on Wednesday in that it links Coronavirus and the effects that more limited human presence has on the environment.

No Man’s Sky (SFVG)

No Man’s Sky was one of the most anticipated sci-fi games of all time and promises players adventure in the form of exploring the cosmos.  The point of the game, as is stated on their website, is for players to experience the freedom and excitement of “uncovering the secrets of the universe.”

The game boasts planets, lifeforms, and galaxies that are procedurally generated, making each one a unique experience to encounter.  As of now, the game boasts a staggering 18 quintillion planets for players to explore.  18 quintillion.  In case you are wondering how many zeroes that is, this is what 18 quintillion looks like numerically: 18,000,000,000,000,000,000. That’s the number 18 followed by 18 zeroes.  Each planet is a unique combination of terrain, topography, vegetation, climate, temperature, atmosphere, inhabitants, etc.  Some planets are incredibly small, others have rings, others experience the heat of being near several suns, others still prove perilous due to  their incredibly mountainous planetary surfaces.  The draw of the game isthe sense of excitement that comes with exploring an essentially endless universe of novel planets and creatures.

Players take the form of a humanoid astronaut who has crash-landed on a unique planet in a unique sector of the galaxy.  Their immediate goal is to traverse the terrain of this planet and assemble enough materials to craft the components necessary to fix their crashed ship and get off the planet.  The magnitude of the game is clear right from the outset.  You are plopped down randomly and given an entire planet to explore as you see fit.  Each bit of vegetation and minerals can be harvested for different elemental materials by using your trusty mining beam ray gun.  Different planets may have traces of inhabitants or even homes that you can stumble upon. As soon as you get off planet, the true scope of the game becomes clear.  In my experience, I barely made it off my starting planet, which just happened to have an incredibly acidic atmosphere that would literally eat through the lining and life support of my space suit if exposed for too long.  I discovered new animal species, plant types, and I explored some abandoned settlements that were nestled deep in underground tunnels (away from all the acid in the air at the surface).  Once I got off planet, I aimed my ship at the next nearest planet and
started flying at cruising speed.  At cruising speed, which could quickly move around individual planets, my ETA for reaching that next closest planet was 31 days 13 hours 42 minutes and 55 seconds.  Over a month!  Of course, that’s when you kick the ship into hyperdrive to drop it down to a cool 3 minutes of travel.  Just be careful when coming out of hyperdrive because if you happen to be in an asteroid field like I was, things might get a little messy.

Many new components have been added since the game’s launch in 2016 in order to give all your exploring more of a point than simply going where no person has gone before.  Players can harvest rare and expensive materials to do many things.  They can upgrade their ships to be either fighting ships that can dominate in galactic battles (with or against other players) or trading ships if they wanted to be interplanetary merchants or they could dabble in fighting and trading if they wanted to become a type of space pirate.  Beyond ship enhancement, players can actually claim a planet for their own and build sprawling home bases to show off the many things they have found from the places they have discovered.

No Man’s Sky is a quintessential exploration game.  Its novelty is its massive and sprawling scale and the fun comes from the adventure of discovering the galaxy.  Jumping from planet to planet, each one different from the last, gives you the digital experience of exploring space like your favorite sci-fi movie characters do.

Concerns of the Cold War: How “I Kill Myself” Reflects the Anxieties of the Atomic Age

Julian Kawalec’s “I Kill Myself” can be read as a compelling account exploring the dangers of absolute power’s capacity to seduce and corrupt.  While this is certainly one aspect of the story, I believe that the story itself delves deeper into voicing many other concerns present in 1962 Poland, which found itself in a world of tense nuclear escalation in which it watched from the sidelines as two world superpowers continued to build to an uncertain potential world ending clash.

Kawalec’s “I Kill Myself” follows the unfolding events surrounding one unnamed senior lab assistant’s interactions with the fictional Zeta bomb, a weapon powerful enough to destroy everything on Earth.  Generally, these fears persisted through the Cold War, especially as the nuclear arms race escalated.  What I think makes this story so interesting is its close proximity to an event that happened only a year prior.  In 1961 the USSR tested the newest addition to its nuclear arsenal, the Tsar Bomba.  The Tsar Bombais still the single most powerful weapon ever detonated in human history.  What’s more is that this title persists despite the fact that it was tested at only half its full strength due to fears that a full-strength detonation would shroud the USSR in radioactive nuclear fallout.  Another popular, yet ultimately unfounded, concern was that a nuclear explosion of that sheer magnitude would cause the Earth’s atmosphere to ignite, killing life on this planet.  International scrutiny followed the Tsar Bomba’stesting and, the next year, Kawalec published his story on the fictional bomb that could single-handedly end life on this planet. “I Kill Myself” reflects many of the concerns that existed in Poland at this point in the Cold War.

One Cold War concern appears even through the mere existence of a weapon like the Zeta bomb.  A persistent source of anxiety through the Cold War was that there existed weapons with the capacity to cause an unparalleled level of global destruction with incredible ease.  The Zeta bomb is so powerful that even our current conception of death is not sufficient in understanding the destruction that would ensue.  Kawalec writes that “if it were to explode, the result would not be death, for death is an equal partner with life… In comparison with the consequences of an explosion of Zeta, death is something anodyne.  The term ‘death’ doesn’t apply to the effects of that” (Kawalec, 261).  While reading the story, I felt a persistent tension in understanding that a distance between the Zeta bomb contact pin and critical point, a mere three millimeters, is all that separates life as we know it and instantaneous global annihilation(Kawalec, 260).  Each time that the narrator handled, moved, or caressed the  Zeta bomb I felt a twinge of tension purely due to the knowledge of the world ending destructive potential that sat just beneath the trigger pin.  The experience as a reader looking in mirrors the knowledge that persisted in the Cold War that people outside your control hold in their hands the capacity to end global life as we know it at any time with the flip of a switch.  This concept leads into another concern of who exactly has the right to access such a weapon and for what purpose do they hold that power?

During the Cold War, Poland found itself in a position near the geographic center of the divide between East and West.  Its status of being at the mercy of the relations between two foreign powers was clear.  The concern was not just that there existed weapons that could effortlessly bring about global destruction but was also that these weapons were in the hands of people set opposed to one another.  In “I Kill Myself,”  I found myself questioning who has the right to have access to the Zeta bomb?  Despite all the described security checkpoints, how is it that an unnamed, incredibly average lab assistant could readily access and abscond with a weapon that could destroy the planet?  From the point of view of nations like Poland, this could conceivably have been a very real question.  To the rest of the world, nuclear weapons were handled and under the authority of nameless, random personnel.  And how could anyone, no matter how distinguished, be sufficiently qualified to wield world ending power?  They might as well have been nameless lab assistants.

Certainly these operators, being human, are not infallible, raising the concern of the corrosive and seductive nature of power. This is perhaps the most clearly shown concern in “I Kill Myself” as the once noble narrator overtly became fixated on and seduced by the bomb’s power.  The reader views first-hand the transformation very clearly through the account of the narrator.  For the first half of the story, he is described as “quiet… and docile” and as someone who is willing to shoulder the pain of loneliness and loss in order to make the ultimate sacrifice in protecting all of creation, not just humans but also the birds, the worms, and the trees(Kawalec, 262).  Yet, we witness the progression of his mission being one of sacrifice to using Zeta for good to using it to destroy the wicked, to forcing beneficial reforms, to arbitrarily bending individuals to his will, to achieving riches, to satiating his own personal lust, to degrading and humiliating others, to achieving fame and power, and even to becoming God (Kawalec, 266-267). Ultimately, he continues to assert that he is acting in the interests of the greater good yet, to the reader, the actions he describes are clearly self-interested to a perverse extent.  And yet, in the context of the Cold War, both the US and the USSR undoubtedly believed themselves to be acting for the greater good.  What does this reveal about the reality of the real world that Kawalec found himself in?

Finally, there also existed a concerning sense of futility and even inevitability.  Even if the narrator did not deviate from his original noble plan, I wonder if his actions would have made any kind of difference.  He seems convinced that throwing the Zeta bomb into the mud of a marsh and throwing its contact pin into a river would definitively eliminate the Zeta’s dangerous potential because “who will ever find a pin only a little thicker than a needle” (Kawalec, 263).  In a society that places so much importance on the Zeta bomb and has the technological means to create such an advanced machine, would they truly not have the ability to either comb the area to find the bomb itself and replace the missing contact pin or simply recreate the Zeta bomb even if the narrator had succeeded in also destroying the physical notes on the process available to him? Even before the narrator’s fall I had the persistent feeling of futility and doubted that his actions in disposing of the bomb would have any true lasting effect in eliminating the risk. I predict that Kawalec and  much of the world that just had to watch the Cold War unfold shared these sentiments of futility and possibly inevitability.

 

 

Works Cited

Kawalec, Julian.  “I Kill Myself” (1962). Ed. Maria Kuncewicz.  The Modern Polish Mind. Boston: Little, Brown and Co., 1962. 260-267.

Science Fiction in Video Games (SFVG) (A New Series)

Last week we touched on the topic of sci-fi in video games. A fun fact about me is that I love playing video games.  So I thought this would be a great opportunity to examine my growing interest in sci-fi through the lens of my long time love of video games.

In looking through a list of famous sci-fi video games, some patterns already start to present themselves in the types of games that define the genre.  Many of the most famous games tend to focus either on specific themes of sci-fi.  Some themes popped right away: conflict, exploration, and flashy flash.  Each with varying degrees of incorporating story and humor.

Conflict is an incredibly broad collection of games that can be further categorized.  Many of the most popular sci-fi games center around conflict (this may be because the types of games that focus on conflict, sci-fi or otherwise, are typically very popular).  These games typically put the player in dangerous situations, heated wars, or all out battles.  First-person shooters (in which players experience the game first hand through the eyes of a hero or a soldier experiencing the dangers of a hostile world or all the visceral action of being on a battlefield) are an incredibly popular type of video game and fall under this category.  Famous examples include the Halo (futuristic intergalactic warfare ft. laser guns, grenades, and swords), Borderlands (space western setting)  and BioShock (retrofuturistic and more gritty settings of underwater or flying cities) games.  Strategy games (which often emphasize empire building and give players an overhead view to control many units) are very different from first-person shooters but can still fall under the broad category of conflict.  Instead of experiencing conflict through the eyes of an individual, players often are the ones making the important strategic decisions, directing troops, and building up resources.  A famous example is Stellaris, which “revolves around space exploration, managing an empire, diplomacy, and space warfare with other spacefaring civilizations” (from the game’s wikipedia page).

Some sci-fi games focus on exploration.  The gameplay for these games often emphasizes discovering the beauty and unfamiliarity of other planets.  A famous example is No Man’s Sky, which has players travel around an infinitely generating universe of planets with unique atmospheric properties, topographies, and inhabitants.

A much smaller group of sci-fi games is what I am calling ‘Flashy Flash.’  Flash games are typically simple or limited in their scope and can be played via a web browser.  The games that I put in this category have very simple gameplay and content (often arcade style) that is conveyed through a very flashy futuristic design (often lasers, neon colors, and themes of space).  Therefore, ‘Flashy Flash.’  These games have simple, smooth mechanics and draw people in using very appealing bright designs.  Some examples are Starwhal (essentially low gravity jousting between space narwhals), ROCKETSROCKETSROCKETS (space dogfighting between neon rockets), and Robot Roller-Derby Disco Dodgeball (the title actually pretty much sums it up: a dodgeball contest between robots who use roller wheels to travel around arenas that have the funky music and flashy lights of a disco).

Of course, this is a very simple initial breakdown that only barely begins to scratch the surface of sci-fi video games.  There are many categories of sci-fi games beyond these three and these categories of games include many titles beyond the ones I listed here.  Many games can’t be defined by a single category.  Some of the most famous sci-fi games ever don’t fit into these categories.  For example, the Portal games (which feature puzzle solving and story surrounding the Aperture Science company and their famous Portal Gun).  Science fiction games vary greatly in their level of action, tech, setting, humor, and storytelling.  Like sci-fi stories, sci-fi games also sometimes incorporate references to other famous games of the genre.

So, as part of our Journey Through Sci-Fi, I am going to play and post about sci-fi in video games.

Boston Dynamics – Funny Video Until Artificial Intelligence Becomes A Little Too Intelligent

“Boston Dynamics is a world leader in mobile robots, tackling some of the toughest robotics challenges. We combine the principles of dynamic control and balance with sophisticated mechanical designs, cutting-edge electronics, and next-generation software for high-performance robots equipped with perception, navigation, and intelligence. Boston Dynamics has an extraordinary and fast-growing technical team of engineers and scientists who seamlessly combine advanced analytical thinking with bold engineering and boots-in-the-mud practicality.” (From the Boston Dynamics website)

Part of the process for improving design and calibrating the Boston Dynamics robots includes stress testing the robots and examining their response to unexpected or adverse environments.  This leads to videos like the one above where the robots are just being pushed, prodded, and kicked.  It makes for an entertaining video but our discussions of Sci-Fi makes me wonder if this video will still be funny when artificial intelligence becomes a little too intelligent…  For a sneak peak of what that day might look like, check out the parody “Bosstown Dynamics” by Corridor Digital (video below).