It has been around since humans began to speak. The earliest forms of speculative fiction were likely mythological tales told around the campfire. Speculative fiction deals with the "What if?" scenarios imagined by dreamers and thinkers worldwide. Journeys to other worlds through the vast reaches of distant space; magical quests to free worlds enslaved by terrible beings; malevolent supernatural powers seeking to increase their spheres of influence across multiple dimensions and times; all of these fall into the realm of speculative fiction.
Speculative fiction as a category ranges from ancient works to cutting edge, paradigm-changing, and neotraditional works of the 21st century. It can be recognized in works whose authors' intentions or the social contexts of the versions of stories they portrayed is now known. For example, Ancient Greekdramatists such as Euripides, whose play Medea (play) seemed to have offended Athenian audiences when he fictionally speculated that shamaness Medea killed her own children instead of their being killed by other Corinthians after her departure. The play Hippolytus, narratively introduced by Aphrodite, is suspected to have displeased contemporary audiences of the day because it portrayed Phaedra as too lusty.
Robert Albert Bloch (/blɒk/; April 5, 1917 – September 23, 1994) was an American fiction writer, primarily of crime, psychological horror and fantasy, much of which has been dramatized for radio, cinema and television. He also wrote a relatively small amount of science fiction. His writing career lasted 60 years, including more than 30 years in television and film. He began his professional writing career immediately after graduation from high school, aged 17. Best known as the writer of Psycho (1959), the basis for the film of the same name by Alfred Hitchcock, Bloch wrote hundreds of short stories and over 30 novels. He was a protégé of H. P. Lovecraft, who was the first to seriously encourage his talent. However, while he started emulating Lovecraft and his brand of cosmic horror, he later specialized in crime and horror stories working with a more psychological approach.
The piazza in Portmeirion, the real-life filming location for exterior shots of the Village
The Village is the fictional setting of the 1960s UK television series The Prisoner where the main character, Number Six, is held with other former spies and operatives from various countries. The theme of the series is his captors' attempts to find out why Number Six resigned from his job and his attempts to escape from the Village and learn the identity of Number One. Ostensibly, those running the Village – thought by many to be countries around the world – believe that once Number Six is coerced into explaining the motive(s) behind his resignation, all the state secrets he knows will come tumbling out. However, the ultimate use of these secrets is only intimated, but not overtly explored. Beyond its explicit physical setting, the Village is also viewed as an allegory for humanity and society during the Cold War era. Patrick McGoohan notes in various post-show interviews that the Village is "within all of us ... we all live in a little Village ... Your village may be different from other people's villages but we are all prisoners." (Full article...)
Science fiction rarely is about scientists doing real science, in its slowness, its vagueness, the sort of tedious quality of getting out there and digging amongst rocks and then trying to convince people that what you're seeing justifies the conclusions you're making. The whole process of science is wildly under-represented in science fiction because it's not easy to write about. There are many facets of science that are almost exactly opposite of dramatic narrative. It's slow, tedious, inconclusive, it's hard to tell good guys from bad guys—it's everything that a normal hour of Star Trek is not.
In the poem "The Queen of Hearts", the titular queen bakes some tarts, which are then stolen by the Knave of Hearts (shown here). The King of Hearts has the Knave punished, so he brings them back and pledges not to steal again. The poem was published anonymously in 1782, along with three lesser-known stanzas, all about characters based on playing cards. (POTD)
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