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This study examines the experiences of 10 neurodiverse students in Amsterdam, Netherlands, who all participated within in-class youth-led book clubs that centered science fiction. Over a 6-month period, the researcher conducted pre- and post-interviews and analyzed these along with transcription data from 24 book club sessions. Findings reveal that book clubs, using culturally sustaining science fiction and healing-centered facilitative practices, provide opportunities to address students' academic and emotional literacies as well as their sense of agency.

"The Ballad of Proxima-B" is an educational RPG that promotes learning and collaboration. Students contribute to world-building and game mechanics, creating fictional worlds and characters, including a dystopian Earth, the planet Proxima-B, and alien races. The game incorporates constructivist, constructionist, and Dynamic Systems Model of Role Identity (DSMRI) principles. The hands-on and collaborative nature facilitates learning, reflection, and a strong classroom community. During gameplay, characters form alliances, encouraging students to reflect on their interactions. Design challenges include workload balance and addressing student anxiety. Game elements emphasize critical thinking and self-reflection, foster collaboration and community, and encourage exploring identity through serious play.

To provide the current student generation with an innovative online learning method, podcasts with science fiction short stories are introduced to marketing education. Findings from neurology and psychology point to positive effects of storytelling for gaining knowledge and developing interpersonal skills. Science fiction stories challenge common conceptions and enable students to engage with upcoming marketing issues in creative ways. An overview of eight marketing related science fiction stories is provided that are available for download as open access podcasts, with 23 more management and economics podcast stories available in the online appendix. To show how science fiction podcasts can be implemented in class, one of the stories is discussed in more detail. Further suggestions for implementation and possible challenges are outlined.

This essay offers a rationale for deploying ecofeminist science fiction stories as object-oriented thought experiments in science and environmental education, with particular reference to developments in genetics and evolutionary biology, and their implications for human (and more-than-human) reproduction and kinship in the period following the determination of the double helical structure of DNA by scientists affiliated with Cambridge University's Cavendish Laboratory in 1953, and the impact of subsequent gene-centric discourses on the biological sciences and the wider culture. The utility and defensibility of this approach is exemplified by reference to two science fiction novels by the late Naomi Mitchison that foreground and anticipate implications of genetic sciences for matters of concern to ecofeminists, including reproductive rights and responsibilities, population control, human relations with the more-than-human, and problematizing gendered (and other) binaries in everyday speech and popular culture.

Science fiction conventions are places where the convergence of science fiction and science is discussed within diverse communities. Many of these science fiction conventions offer programming focused on science, often described as "science tracks," for science experts to share their experiences, expertise, scientific findings, and applications related to current research in connection to science fiction with the public. Framing the study within a socio-cultural context, this study surveyed experts' (n = 19) perceived beliefs of science communication at science fiction conventions. Experts cited "accessibility" and "promoting scientific curiosity" as the greatest benefits and identified "misconceptions" or "misinterpretation" by the audience as challenges. Overall, experts agreed that "communicating science is important" and "science fiction has a great impact on science." Because of the public access to experts, it is important to highlight the potential influence science fiction conventions may have on science communication via socio-cultural experiences and contexts within popular culture.

Given the increasing popularity of the science-fiction genre, its capacity for worldbuilding and its long-durée vision, coupled with both the difficulty of discussing issues of migration in today's world as something more than a problem of the present and the necessity to go beyond this presentism, the author argues that science-fiction films provide an excellent tool for peace education inside and outside the classroom in general and to address migration in particular. This article discusses the why and how of using science fiction films for peace education, which the author claims is not necessarily taught in the classroom or special programs but should also be seen as part of lifelong learning/continuous education.

The present paper takes a critical posthumanist lens to study the consequences of rapid urbanisation of the Chinese landscape as presented in the short story ‘Good Hunting’, by Ken Liu. One of the main characters in the story is Yan, a huli jing (fox-spirit), whose ability to switch between her fox and human forms is severely impaired by the loss of remnant nature in China, and the subsequent erosion of the qi from the soil. It is not just the natural landscape that undergoes a transformation during urbanisation – the remnants of nature do not remain untouched by this process. Beings like Yan, who continue to inhabit the place that used to be their home, do not remain the same that they were pre-urbanisation. The city changes them, moulds them in ways hitherto inconceivable, and they undergo this transmogrification of their bodies and their self in order to survive. The article draws out the historical relationship between urban spaces and (post)human bodies, with a specific focus on the Chinese body, drawing parallels between the ideals associated with the city and juxtaposing them with what it means to be posthuman. The paper also interrogates Yan’s status as a liminal entity before and after Hong Kong’s transformation, and her use of liminality as a survival strategy. [ABSTRACT FROM AUTHOR]

Neoliberalism as phenomenon has been noted for its pervasiveness, persistence and negative impact in society. The uncertainty, pessimism and tension associated with neoliberal societies have found expression in popular culture entertainment, more specifically in dystopic depictions of societies influenced by neoliberal logic. These dystopic presentations offer fantastical depictions as allegories, holding up our current realities for critique. While many studies have examined presentations of dystopia from various scholarly perspectives, we employ here a social semiotics approach to examine how semiotic resources are deployed in dystopic presentations of neoliberalism – neoliberal dystopia – to engender critical stances and attitudes. Using excerpts from the Netflix science fiction series Black Mirror, our study shows how combinations of semiotic resources are employed to draw critical attention to representations of neoliberal realities and society. The use of a social semiotics approach offers systematicity in the examination of representations of meaning via the utilization of established analytical frameworks, adding to already-existing commentaries on neoliberal dystopia. [ABSTRACT FROM AUTHOR]

The technology for even the most advanced missions in the solar system doesn't need advances in basic science. Traveling through the solar system can be described through what is called ‵hard science fiction', i.e. science fiction strictly based on scientific knowledge. Interstellar exploration is a completely different matter. Robotic flyby missions to the nearest stars using nanoprobes can be performed using technologies based on known science, while anything beyond this requires advances which we don't know how to implement, or even we are not sure whether they are possible at all. The point applies not only to the technological aspects but even the scientific bases on which the relevant technologies may rest. The missions requiring less scientific-technological advances, are slow missions, like space arks (generation ships) or missions based on hibernation with travel times up to hundred years. To implement both, the uncertainties are more related to the advances in space medicine and biology than in propulsion and physics. The fastest travels allowed by the current interpretations of the relativity theory are relativistic missions in which the time contraction at speeds closing the speed of light is exploited to decrease the travel time for the astronauts, although the travel time seen by those who remain on Earth is close, in years, to the distance traveled expressed in light years. However, the energy required for this type of missions is large and grows drastically with the increase of time contraction. Faster than light travel, which seems to be possible following some interpretations of relativity involving either wormholes or some sort of warp drive, requires substantial advances in fundamental physics. A symptom of this is that the novels dealing with interstellar travels belong more to the space opera – which doesn't follow strict scientific credibility – than to the hard science fiction subgenre. No novel of this kind explains details about how the relevant machinery works, and even less scientifically realistic are the movies, TV series, and videogames of this kind. Moreover, to achieve a travel time allowing to reach distant star systems in reasonable times using warp drives, the authors of Star Trek had to resort to the Warp Factor which is essentially a nonlinear scale. This makes the requirements for FTL travel even more difficult to achieve. • Interstellar travel requires advances in technology and, in some cases, in science. • Generation ships, which travel for centuries, require only technological advances. • Slow travel with hibernated crew is simpler but requires to develop long term hibernation. • Faster than light (FTL) travel might be not incompatible with present day science. • Interstellar travel as fast as in science fiction, requires speeds hundreds times FTL. [ABSTRACT FROM AUTHOR]

This contribution proposes to explore different forms of postcapitalist futures that have been imagined in science fiction and analyze their reflexive potential. The field of studies on diverse economies, those economies often made less visible by the preeminent economic system, should also be concerned with fictional representations oriented towards the future. The article first emphasizes how science fiction can participate in the political imagination, precisely because of its capacities for problematization and exploration. The next step is to exploit a corpus of mainly literary works to show how science fiction can be an original and heuristic vector for the exploration of transformative socioeconomic possibilities. The worlds created in these works allow us to show what a variety of alternative and postcapitalist socioeconomic systems might look like. A typological matrix of postcapitalist futures is then proposed to highlight the hypotheses on which these visions are based and the inspirations they provide. [ABSTRACT FROM AUTHOR]

This study examines the experiences of 10 neurodiverse students in Amsterdam, Netherlands, who all participated within in‐class youth‐led book clubs that centered science fiction. Over a 6‐month period, the researcher conducted pre‐ and post‐interviews and analyzed these along with transcription data from 24 book club sessions. Findings reveal that book clubs, using culturally sustaining science fiction and healing‐centered facilitative practices, provide opportunities to address students' academic and emotional literacies as well as their sense of agency. [ABSTRACT FROM AUTHOR]

Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article theorises the 'speculative anthology' as a formal experiment in futurity that challenges how anthologies have been used to publish, and promote, science fiction from the Global South in the international literary marketplace. It focuses on the 'Futures Past' series of anthologies published by Comma Press – Iraq+100 (2016), Palestine+100 (2019), Kurdistan+100 (2021), and Egypt+100 (2024) – in which indigenous writers are asked to imagine regional futures one century after a major historical event that has defined the pasts and presents of these existing, or aspiring, nation states. Building on recent scholarship in postcolonial print culture which has proposed new strategies for reading evolving genres of the anthology, I first consider the speculative anthology as a heterogeneous literary form which has the capacity to facilitate creative collaboration and collective forms of critique. At the same time, I show how such anthologies reveal a homogenising impulse, often rooted in national imaginaries, and can encourage an anthropological approach to literary writing, especially by minoritised authors. Reading across the paratextual infrastructures of the 'Futures Past' series, I then compare how individual anthologies are shaped by various speculative editorial and publishing practices. I conclude that this experiment in futurity undertakes meaningful, yet imperfect, speculative work as it imagines how writing about the future by authors from the Global South might be anthologised otherwise. [ABSTRACT FROM AUTHOR]

The genre term climate fiction ('cli-fi') refers to fiction in which climate change is a major theme. When situated at the intersection of Anthropocene and literary studies, its usage raises questions on how writers might depict a just and representative climate future through storytelling, especially when contemporary publishing grapples with which voices get published and read at all. Rooted in a writing experiment conducted with five UK-based writers of colour, who were instructed to write climate fiction stories over the course of a month, this article explores how a redefinition of climate fiction as a genre – and, in turn, the imagination of possible futures – might begin by closely studying writers' creative processes, and how their lived experiences in a warming world translate into text. By weaving together literary and geographical theories concerning storytelling and the creative writing process, it suggests how more urgent, topical, and relatable climate stories might be told via the use of embodied testimonies of climate change considering race, place, religion, and an intersectional awareness of global warming's disproportionate impacts. [ABSTRACT FROM AUTHOR]

This essay examines the conflation between world and planet in H. G. Wells's turn-of-the-century science fiction. Writing when "world=planet" was not a given, Wells actively participated in the formation of the world-planet vocabulary across a range of genres and throughout the first half of the twentieth century. In particular, I look into the planetary experiments of his early fiction, where the materially limited planet continually thwarts the writer's attempts to equate that planet to the world he wished to develop as the ultimate political unit. Emerging through such attempts is a divergence between world and planet that enables us to think about the individual, the world, and the planet all on a commensurate scale, in a manner that is strikingly—and perhaps also troublingly—similar to what recent environmental discourse asks of us today. [ABSTRACT FROM AUTHOR]

AbstractThis article proposes that Japanese science fiction emerged as an escape from the limits of the realistic representation of the world proposed by Naturalism. It reads three science fiction short stories published in the magazines Tanken sekai (World of Exploration) and Bōken sekai (World of Adventure) between 1907 and 1910 to discuss early science fiction in which authors utilised technoscientific discourse. Engaging in a set of textual practices centred on developments of modern science and technology, these authors developed one of science fiction’s distinctive features: anti-mimeticism, a literary mode focused on the depiction of anything that cannot happen in real life. This article focuses on the modalities by which these stories—Tenkūkaikatsu Dōjin’s ‘Gessekai shinkon ryokō’ (Lunar Honeymoon), Ishii Kendō’s ‘Gessekai dokuryoku tanken’ (Self-made Exploration to the Moon), and Hakui Michihito’s ‘Yukai to benri wo kiwametaru ōgon jidai no tokai seikatsu’ (The Extremely Amusing and Comfortable Golden Age of Urban Life)1—employ a rationalistic view of the phenomenal realm to generate fictional worlds that relinquish the dominance of a mimetic representation of reality. An analysis of early Japanese science fiction from the late Meiji period reveals two elements that eschewed the realistic literature such as Naturalism: objective narration and an anti-mimetic base for the fictional world. [ABSTRACT FROM AUTHOR]

A trained physicist, Kurd Lasswitz (1848–1910) is best known as a novelist, the father of modern German science fiction, and as a historian of science, the initiator of the modern historiography of atomism. In the late 19th century, Lasswitz engaged in an intense dialogue with the emerging Marburg school of neo-Kantianism, contributing to shaping most of its defining tenets. By the end of the decade, this research had grown into a two-volume Geschichte der Atomistik (1890), which remains the most successful example of neo-Kantian historiography of science. Lasswitz combined attention to historical detail with the search for the intellectual tools (Denkmittel) without which the 'fact of science' would be impossible. In particular, Lasswitz regarded Huygens' kinetic atomism as a historical model of a successful scientific theory, shaped by the interplay of two conceptual tools: (a) substantiality, the requirement for identity of the subject of motion through time, which found its scientific expression in the extensive atom; (b) variability, the intensive tendency to continue in an instant, which found its conceptual fixation in the notion of 'differential'. By raising the problem of individuality in physics, Lasswitz offers a unique perspective on the utilization of the history of science in 19th-century neo-Kantian thought. [ABSTRACT FROM AUTHOR]

Participants in the long-running bioethical debate over human germline genetic modification (HGGM) tend to imagine future people abstractly and on the basis of conventionalized characteristics familiar from science fiction, such as intelligence, disease resistance and height. In order to distinguish these from scientifically meaningful terms like “phenotype” and “trait,” this article proposes the term “persemes” to describe the units of difference for hypothetical people. In the HGGM debate, persemes are frequently conceptualized as similar, modular entities, like building blocks to be assembled into genetically modified people. They are discussed as though they each would be chosen individually without affecting other persemes and as though they existed as components within future people rather than being imposed through social context. This modular conceptual framework appears to influence bioethical approaches to HGGM by reinforcing the idea of human capacities as natural primary goods subject to distributive justice and supporting the use of objective list theories of well-being. As a result, assumptions of modularity may limit the ability of stakeholders with other perspectives to present them in the HGGM debate. This article examines the historical trends behind the modular framework for genetically modified people, its likely psychological basis, and its philosophical ramifications. [ABSTRACT FROM AUTHOR]

Although space colonization appears to belong to the world of science fiction, private corporations owned by Silicon Valley billionaires—and supported by the US state—have spent billions making it a reality. Analyses of space colonialism have sometimes viewed these projects as distinct from earthly histories of colonialism, instead locating them within traditions of libertarianism, neoliberalism, or techno-utopianism. By reconstructing technology elites' political visions for celestial settlements within the literature on colonial-era corporations and property, this study argues that the idea of outer space as an empty frontier relies on the same logic of territorialization that was used to justify terrestrial colonialism and indigenous dispossession. It further traces how the idea of "engineering territory" has inspired wider Silicon Valley political exit projects such as cyberspace, seasteading, and network states, which, rather than creating spaces of anarchical freedom, are attempting to recreate the territorial state in new spaces. [ABSTRACT FROM AUTHOR]

The Three-Body Problem trilogy, a work by Cixin Liu, won the Hugo Award, making it the first Asian science fiction work to achieve this. The English translation of this trilogy has garnered significant attention from academics, emphasizing its literary significance. However, the androcentric and gender-biased expressions in the original text, as well as the subversive translation used to mitigate them, have received little attention. This mixed methods study, based on Theo Hermans' concept 'modalities of normative force' (1996), aims to examine the translation norms in this regard and discuss how these norms define the relation between source and target texts. The findings indicate that translators Ken Liu and Joel Martinsen were required to employ subversive translation norms to eliminate gender-biased content that might cause discomfort and aversion among the target audience. This highlights the importance of translators' subjectivity in balancing divergent social and cultural contexts during the translation process. [ABSTRACT FROM AUTHOR]

This article explores the theme of human-machine convergence as portrayed in modern science fiction movies and TV/streaming series and compares them to real-world advancements in robotics, artificial intelligence (AI), and virtual reality (VR). It examines how science fiction often depicts humanoid robots and AI with human-like emotions and intentions, contrasting with the actual technological challenges and ethical considerations in developing intelligent machines. The text discusses the evolution of humanoid robots from fictional portrayals to real-life examples like Boston Dynamics' Atlas and Tesla's Optimus. The paper also explores the reverse interaction, where humans become avatars in virtual worlds, and briefly discusses the ethical implications of simulating deceased individuals in digital form. Through this examination, the paper emphasizes the complexity of human-machine convergence and the importance of considering social, ethical, and emotional aspects in technological progress. It concludes by suggesting that while science fiction provides insights into societal fears and hopes regarding technology and thus into ethical and regulative necessities, the real trajectory of human-machine convergence cannot be predicted through film but will be determined by ongoing and after all incidental developments in the real world. [ABSTRACT FROM AUTHOR]

This article demonstrates—based on an interpretive discourse analysis of three types of memes (Rabid Feminists, Women's Bodies, Policy Ideas) and secondary thread discourse on 4chan's "Politically Incorrect" discussion board—two key findings: (1) the existence of a gendered hate based scientific discourse, "science fan fiction," in online spaces and (2) how gender "science fan fiction" is an outcome of the male supremacist cosmology, by producing and justifying resentment against white women as being both inherently untrustworthy (politically, sexually, intellectually) and dangerous. This perspective—which combines hatred and distrust of women with white nationalist anxieties about demographic shifts, racial integrity, and sexuality—then motivates misogynist policy ideas including total domination of women or their removal. 4chan users employ this discourse to "scientifically" substantiate claims of white male supremacy, the fundamental untrustworthiness of white women, and to argue white women's inherent threat to white male supremacist goals. [ABSTRACT FROM AUTHOR]

Of the various criticisms that have been levelled at Danny Boyle’s Sunshine (2007), a common complaint is that the film’s narrative descends from the cosmic heights of its setup – the dying sun must be resurrected explosively by a team of intrepid astronauts lest Earth freeze over – to the histrionic depths of its ending, in which the improbable return of a Kurtz-like individual grounds the plot as a struggle of individual wills. For several critics, the third act of the film becomes the locus of the melodramatic, here framed pejoratively as that which chafes against the scientific realism of the film more generally. However, in this paper I argue that melodrama in Sunshine cannot be compartmentalised in this way, but instead functions as a mode, revealing itself subtly in a number of technical and stylistic components that punctuate the emotional ebb and flow of the plot from the outset. While the film’s attempts at astronomical accuracy might seem to suggest its adherence to the reality principle, here I contend that the problem of narrativising the death of the solar star sends it into the orbit of melodrama well before its final sequence. [ABSTRACT FROM AUTHOR]

Drawing on Fredric Jameson's and Monika Kaup's work, this article analyzes some aspects of utopian and dystopian thinking about religion in contemporary science fiction, taking as an example Ada Palmer's Terra Ignota series (2016–2021). In these novels set in the twenty-fifth century, religion is restricted to individual counseling with so-called 'sensayers', a future equivalent of scholars-of-religion\s-cum-spiritual-advisors. In exploring these visions of future religion, utopia and dystopia prove to be important concepts. Centering religion's ambivalence as both a centripetal and centrifugal societal force, Palmer presents a continuum of utopian, dystopian, anti-utopian, and anti–anti-utopian religion(s). Nevertheless, in Terra Ignota religion remains conceptualized as an anthropological necessity, limiting the radical difference of her unknown world. In conclusion, drawing on Gayle Salamon and Richard M. Zaner, I argue that speculative fiction's 'acts of possibilizing' can be generative of theoretical insight, providing occasion for fertilizing our 'ability to fantasy'. [ABSTRACT FROM AUTHOR]

Agnès Varda's science fiction tale, Les Créatures, is her only film with an extravagant plot, and it is also the film considered (by others and by herself) to be her great failure. This article argues that these two aspects of the film are related. Les Créatures can be read as a condemnation of a certain kind of unrestrained storytelling, in which an artist's desire for invention displaces any effort to engage with the world. The novelist-hero of Les Créatures cooks up fantasies that share the freewheeling improvisation of some of Varda's other films but lack an ethnographic or observational dimension that would tether them to reality. As a result, his story, and indeed Varda's film, amount to a self-absorbed game-playing that Varda repudiates in spite of its eerie fascination. In this way the film can be seen as a road not taken for Varda, drawing attention to the ways in which her other films hold their fantasies accountable to a shared world, and imagining what they would be like if they didn't. [ABSTRACT FROM AUTHOR]

Artificial intelligence (AI) is the ability of a digital computer or computer-controlled robot to perform tasks commonly associated with intelligent beings. Artificial intelligence can be both a blessing and a curse, and potentially a double-edged sword if not carefully wielded. While it holds massive potential benefits to humans—particularly in healthcare by assisting in treatment of diseases, surgeries, record keeping, and easing the lives of both patients and doctors, its misuse has potential for harm through impact of biases, unemployment, breaches of privacy, and lack of accountability to mention a few. In this article, we discuss the fourth industrial revolution, through a focus on the core of this phenomenon, artificial intelligence. We outline what the fourth industrial revolution is, its basis around AI, and how this infiltrates human lives and society, akin to a transcendence. We focus on the potential dangers of AI and the ethical concerns it brings about particularly in developing countries in general and conflict zones in particular, and we offer potential solutions to such dangers. While we acknowledge the importance and potential of AI, we also call for cautious reservations before plunging straight into the exciting world of the future, one which we long have heard of only in science fiction movies. [ABSTRACT FROM AUTHOR]

Star Trek Deep Space Nine's episode "Far Beyond the Stars" positions Captain Benjamin Sisko and his alter ego Benny Russell as Black prophetic voices. Star Trek Deep Space Nine engages Black visions for the future in the form of Benjamin Sisko's role as the Emissary to the Prophets. Sisko/Russell's prophetic presence calls to mind the ancient Hebrew prophets, the book of Revelation, and the prophetic vision of life beyond oppression. Science fiction as prophetic imagination has the potential to show us better worlds. [ABSTRACT FROM AUTHOR]

Is it possible for today's man to return to the historical past several centuries or millennia and find himself among his ancestors as shown in various science fiction films such as the cult British series "Outlander" when the main heroine enters the hollow of the tree and returns in the middle ages. Is it possible to travel into the future several centuries or millennia into the future as shown by Herbert George Wells in the science fiction novel Time machine or the French film "Les Visiteurs" when the heroes of the Middle Ages travel to the future. Are there parallel worlds or multiverses in which one day future generations will travel only with advanced technologies at the speed of light like in the cult TV series Wars or Dr.No? For now, these impossible feats are possible only on movies, but scientists like Albert Einstein, Nikola Tesla, and especially Everett Hughes, Stephen Hawking, theoretically explained the probability of such hypotheses. The concepts of time travel and parallel worlds are phenomena that are mutually related and interdependent both in literature and cinema, and in other scientific cultural-artistic or entertainment works. They complement and enhance each other because the phenomenon of time travel cannot be effected if there is no other world, even assuming that it is simply a return to the past or travel to the future. In this review, we will only focus on the phenomenon of time travel. This paper is part of the research dedicated to the project Time Travel and Parallel Worlds in Cinema integrated in my doctoral thesis with the same title. [ABSTRACT FROM AUTHOR]

The article examines how secondary English classrooms often neglect to include diverse perspectives, particularly Black girl-led science fiction, despite discussions about creating safe and welcoming spaces. Topics include the limitations of current curricula that often exclude science fiction with Black girl protagonists, the impact of this exclusion on students of color, and the application of Culturally Relevant Pedagogy (CRP) and Culturally Sustaining Pedagogy (CSP) to address these gaps.

Copyright of Ética y Cine Journal is the property of Etica y Cine Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Robert Pinsky's Mindwheel (1984) and Tim Schafer's Psychonauts (2005) are dissimilar games in terms of player interface and ludic mechanics, but both participate in the creative tradition of "inner space," which begins in science fiction literature and depicts the human mind metaphorically as a physical space which can be explored and interacted with. This essay examines how each game contributes to this tradition, with particular attention to how the mechanics of each game develops an adversarial or cooperative tone to the player's interaction with the game, and how this produces different forms of inner space exploration. This essay also draws on Lakoff's and Johnson's concept of "orientational metaphors" which are familiar from embodied experience and various conventional expressions, and examines how coherent each game's metaphors and narratives are. [ABSTRACT FROM AUTHOR]

Netflix’s Black Mirror (2011–present) is often compared to The Twilight Zone (1959–1964) for its thoughtful science fiction (SF) commentary on contemporary society. Yet, as Joanne Morreale shows in her excellent study of The Outer Limits (1963–1965), it might be with that less well-known SF series that Black Mirror should be compared. The confusion that often occurs between episodes from The Twilight Zone and The Outer Limits highlights the many similarities between the two series, with the former’s success paving the way for the latter. Morreale’s concise book, the latest in the TV Milestones series by Wayne State University Press, can only help bring back into the spotlight a series which over the decades has been unfairly living in the shadow of The Twilight Zone.