Worlds of Design: Fantasy vs. Sci-Fi Part 1

This is a broader question than just RPGs but the same arguments apply. It’s important for RPG designers, for consistency and to avoid immersion-breaking, but it’s probably not important to players.

This is a broader question than just RPGs but the same arguments apply. It’s important for RPG designers, for consistency and to avoid immersion-breaking, but it’s probably not important to players.
After making some notes to try to answer this question for myself, I googled it, and I also asked for suggestions on Twitter.

It’s the kind of situation where most people will agree in most cases whether something is fantasy or science fiction, but there’s an awful lot of room to disagree or to bring in additional terms like “science fantasy”.

One googled source said, "Science fiction deals with scenarios and technology that are possible or may be possible based on science". That's an obvious differentiation, yet it doesn't actually work well. As Arthur C. Clarke said, "any sufficiently advanced technology is indistinguishable from magic." For example, most people would call Michael Moorcock's Jerry Cornelius (The End of Time) stories fantasies, yet they are supposed to be using highly advanced scientific tools.

“Science fiction is any idea that occurs in the head and doesn't exist yet, but soon will, and will change everything for everybody, and nothing will ever be the same again.” Ray Bradbury​
Perhaps the difference is that science can be explained and follows laws, and magic does not. Yet we have examples of magic systems that are well explained (on the surface at least), for example, the metals system in Brandon Sanderson's Mistborn novels.

A lot of the "obvious" differences are semantic, that is, it just depends on what you call something. Are psionics scientific or are they magic? Is a wizard a scientist or a spellcaster? Is a light saber science or magic? Science is usually associated with mass production, magic with individuals and individual use, and nobody but Jedi and a few bad guys use light sabers. Another source: "Many would argue that Anne McCaffrey’s Pern series is science fiction despite the existence of dragons while others say the Star Wars films are clearly fantasy despite the space setting."

In the end, saying it's a difference between science and non-science, or between technology and magic, can fall afoul of semantics all too often.

Do we have to say that science fiction uses technology that we can extrapolate from today? No super advanced stuff? But then what about faster than light travel? Current science says it's not possible: does that mean any science fiction with faster than light travel is a fantasy?

A different way to pose science and magic is to say natural versus supernatural. Some people do not accept the supernatural as an explanation for anything, which leaves no room for gods or prophecies. But when we get to advanced technology versus magic, Clarke's dictum applies. Sufficiently-advanced aliens may look entirely supernatural, even godlike.

We can't really talk about the presence of magic versus scientific technology because it's often impossible to tell which is which.

Saying "Low-tech" is not enough to identify fantasy. There are fantasies where magic is used to achieve a higher level of "technology," in terms of devices to help humans flourish, than we have today. It's a matter of how the magic is used, not the fact that it's magic rather than science.

We could look at the culture of the world-setting to try to differentiate fantasy from science fiction. In SF, almost always there are lots of individual inventions that people use in everyday life, without even thinking about it. Telephones, automobiles, toilets, electric stoves, computers, washing machines, and so on. There will be analogs of those inventions in SF stories and games, usually posed as technology. But you can create a world that you call fantasy, that uses magic to provide all of those functions but calls it magic rather than technology.

Comics style superheroes are shown in something much like the real world (implying science fiction), but I'd call them fantasy, not SF. The Dresden Files (and other urban fantasies) are clearly fantasy, though sited in the real world.

It looks like science vs non-science is not sufficient, though natural vs supernatural is sometimes useful. Let's try other approaches next time.

This article was contributed by Lewis Pulsipher (lewpuls) as part of EN World's Columnist (ENWC) program. You can follow Lew on his web site and his Udemy course landing page. We are always on the lookout for freelance columnists! If you have a pitch, please contact us!
 

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Lewis Pulsipher

Lewis Pulsipher

Dragon, White Dwarf, Fiend Folio

trancejeremy

Adventurer
Oh, of course. I mean, Original Trek was pitched as Wagon Train to the Stars after all.

This gets said a lot, but Star Trek is almost literally The Voyage to the Bottom of the Sea (which from from '64 to '68) in space, and shares very little in common with Wagon Train.
 

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Hussar

Legend
I would say that that is because they are all modernists. Whereas JRRT is resolutely anti-modern. As soon as you get a modernist spirit deploying fantasy tropes (I think REH - you disagree, fair enough - but also Ursula Le Guin in Tehanu) your account breaks down!
/snip

Yes and no. There's the whole Wellsian tradition in SF which is definitely anti-modern. Technology as the thing that will kill us all and if we all go back to nature we'll be happier. I mean, The Time Machine is probably the easiest example of that - the technological people are cannibal monsters living underground and the "back to nature" folk are beautiful and nice. It's not a really hard message to follow. :D

And SF is chock a block with that tradition as well. Lots and lots of stories where "through heart and gumption, we beat that evil robot/monster/whatever". There's always been a very strong anti-modern tradition alive in SF.
 

pemerton

Legend
SF is chock a block with that tradition as well. Lots and lots of stories where "through heart and gumption, we beat that evil robot/monster/whatever". There's always been a very strong anti-modern tradition alive in SF.
I'll bracket the Wells criticism and just focus on this: it seems at odds with your SF/fantasy distinction, as beating an evil robot through heart and gumption seems to fit your account of a morality tale rather than a reflection on the "what ifs" of humanity. What have I missed?
 


Hussar

Legend
There's the other side of this too. I'd hardly call Harry Potter anti-modernist. Never minding all the "urban fantasy" stuff that's come out in the past twenty years or so.

And, [MENTION=42582]pemerton[/MENTION], I'm not sure why you'd "bracket" the Wells criticism. Wellsian vs Vernian is a pretty standard criticism of speculative fiction. That's been pretty solidly established. Wells' anti-science, anti-technology bent is quite obvious - The War of the Worlds sees the technologically advanced aliens brought low by the tiniest bit of life. This is hardly controversial.

But, as far as "beating the evil robot", sorry, was being a bit tongue in cheek. A better example would be the numerous dystopia SF works where technology has destroyed the world and it's only through pluck and gumption that we can make things right. Look, I don't like Wellsian fiction. It's not to my taste. So, I'm not the right one to describe it. But, I would hope that we can not get stuck on pulling out single words out of a point and dive down the rabbit hole of chasing dueling examples.
 


pemerton

Legend
Woah. Okay. Could you expound on this a little?
In respect of ethos, REH's Conan evinces an ethos of self-creation, imposing one's will on society, extreme disregard of tradition and social structure, and more general hostility to "civilisation".

In respect of style, I would say it's at the upper end of pulp. It's not particularly "literary". It's clearly contemporary, in a way that (say) Dickens or Wilkie Collins is not.

In my discussion with Hussar I've been focusing on the issue of ethos rather than of style, although the two aren't completely disconnected.
 

Hussar

Legend
No, not chasing duelling examples. Just trying to follow your analysis.

I'm not really sure how to be clearer here. Fantasy, by and large, is hallmarked by an analysis of good and evil. Certainly core fantasy works, I would argue, are examinations of morality at their core. SF, on the other hand, generally isn't quite as concerned with good and evil, although, let's be fair, that does appear in lots of SF as well. But, it's generally not the central theme. Central to SF is an analysis of what it means to be human in the face of the proposed changes made within the work.

So, while Harry Potter certainly looks at things like class struggle and racism, the central theme of the story is good and evil. The evil characters are classist and racist. The good characters are not. And the story all hangs on the conflict between Harry and Voldemort. While something like Flowers for Algernon does also deal with racism and bigotry, the core conflict is Algernon's rise and subsequent fall after taking a medicine that makes him super smart. He goes from being severely mentally challenged and incapable of relating to the other characters, to being super smart and still incapable of relating to the other characters. There's no actual good or evil evident in the story.

Or take another seminal SF work - The Cold Equations by Tom Godwin In the story, there is a stowaway aboard a medical transport that only has enough fuel to reach its destination for one passenger. The whole story is about the fact that this cannot be changed and there is no actual "good" answer. But the morality of the situation isn't really a central theme. It's about how do the characters deal with this fact that this is a no-win scenario.

This is why I'm not a fan of using trope to differentiate the genres. There's so much crossover between the genres with respect to tropes that you cannot really divide them that way. In my opinion, it's much better to differentiate the thematic focus of the different genres. Again, we can both find examples that don't fit. Sure, I totally accept that. But, I'm not sure how else we can really differentiate them.
 

pemerton

Legend
Another way to think about theme in fantasy and sci-fi is the relationship to rationalism.

I haven't read a lot Heinlen or Asimov, and not for a long time, but my sense is that both are broadly rationalist.

JRRT is anti-rationalist in one sense - there are mysteries that lie beyond human reason - but he doesn't present the world as irrational. It's just that the reason of providence reveals istelf in its own time. (I'm only 60-odd pages into my Dune re-read, but so far it is presenting a similar vibe - the Bene Gesserit being victims of their own would-be rationalist preparation for and sowing of prophecy.)

REH's Conan is anti-rationalist in a different sense - there is no reason to be revealed. Life is full of brute chance, and their's no accounting for fortune and misfortune. (It's nihilist but not fatalist - REH clearly presents a world in which human striving can make a difference.)

A puzzle for me about classic (Gygax-style) D&D is that the play of the game encourages a rationalist mindset (planning and caution should pay off), whereas the tropes it emulates tend to be either Tolkienesque or Conan-esque, neither of which is rationalist in that way. So there's a mismatch between play experience and tropes.
 

Hussar

Legend
Huh. I never thought of it like that. That's an interesting take. Gonna have to digest that one for a bit but, I think you might be on to something there.

One mistake I think we're both making though is focusing on dead authors. :D There's been more genre fiction written in the past 18 years than in the previous hundred, so, it would be a bad idea to simply use golden age examples.
 

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