Octavia E. Butler 264 pages Beacon Press (1979)
Read this if you like: Time travel sci-fi, Afro-horror, Beloved by Toni Morrison, Doomsday Book series by Connie Willis tl;dr summary: Modern black woman is pulled back in time to save her slaveholding ancestor.
You can think of speculative fiction as a kind of super-genre. Stories that live under this broad umbrella all deviate in some way from the laws and rules of everyday reality. That could mean they’re set in an entirely invented reality or in a world mostly like our own with a few minor tweaks, or anywhere in between.
The term speculative fiction was first coined by Robert Heinlein in the late 1940s, so it’s hardly a new concept. Its associations have shifted over the decades, though, from a term mostly syonymous with sci-fi to one that’s more fluid. In today’s parlance, speculative also includes fantasy and most horror, as well as stories that exist between the borders of these genres. It’s become an especially popular term among those who write settings or tropes from fantasy and sci-fi in a literary style.
The impetus for this post was a panel at this year’s Chicon/Worldcon. The focus of that panel was a bit broader, looking at cats across sci-fi and fantasy—not anthropomorphized, humanoid felines, which are their own unique subset of fictional races, and not other felines like lions and panthers, but Standard Issue Cats in human-dominated worlds.
There were a lot of great questions raised at that panel, like how storytellers use cats in their narratives, the difference between an animal and human character, and the broader role of pets and animals in general in human-centric sci-fi worlds. So I decided to take a closer look at some of my favorite space cats to see how their creators answered those questions.
One of my favorite things about Jordan Peele’s movies as a whole is that they don’t fit neatly into any genre box. A big reason for this is Peele’s worldbuilding style and prowess. His films take place in worlds that are just slant of reality: normal on the surface, but with one strange, horrifying difference lurking below—quite literally, in the case of Us, and metaphorically in his debut Get Out. It’s a similar thought experiment model that underpins many episodes of Twilight Zone, and it makes sense that Peele is at the helm of that reboot.
(Note: Thar be spoilers past this point. If you haven’t seen Nope and care about such things, probably best to stop reading now.)
Monica Byrne 608 pages Harper Voyager (2021)
Read this if you like: Maya civilization, anarchist utopias, long-view fiction tl;dr summary: A story across three timelines spanning 2,000 years, from a dying dynasty in the Maya empire to a nomadic far-future civilization and a teenager on vacation in Belize in the middle.
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One of my favorite things about the Star Trek franchise is the way they never let a good piece of worldbuilding go to waste. There are tons of examples I could cite from the latest slew of series, but the one I’m most tickled by is the resurrection of Captain Pike.
(Note: Thar be spoilers in this post, so if you haven’t watched Discovery or Strange New Worlds and care about such things, probably best to stop reading now).
Valerie Valdez 416 pages Harper Voyager (2019)
Read this if you like: Antihero starship captains, space romps, galaxy-scale worldbuilding
tl;dr summary: The misadventures of Captain Innocente and her crew, combining all the fun and action of sci-fi adventure pulp with relatable characters and next-level worldbuilding.
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It's hard to believe 8 series and a dozen movies later, but the Star Trek franchise nearly failed in its first season. Not only was the pilot widely regarded as a flop but by the mid-point of the first season they'd run out of episodes to film. Since almost nobody had watched the original pilot, anyway, Gene Roddenberry made the economical decision to re-purpose it, adding new material to stretch it into two full episodes. The resulting two-parter, “The Menagerie,” received a far better reception than the original pilot, evening winning a Hugo Award in 1967 for Best Dramatic Presentation.
As a modern viewer (read: binge-watching TOS on Netflix) “The Menagerie” gives you a feeling of déjà vu. Not only did I watch the pilot already, but I just watched it a few nights prior; the skillful re-use of the material, in this context, loses some of its brilliance. It also opens the two episodes up for more comparison and analysis.
The overlap between DS9 and TNG that was mentioned in part 1 of this post allowed for the further development of many races. The Cardassians and Bajorans mentioned earlier are joined by plotlines that showcase Klingon, Romulan, and Trill culture in new ways. As interesting as all of these developments are, the treatment of the Ferengi and the Breen are especially noteworthy from a world-building perspective.
As far as I'm concerned, the Star Trek universe represents world building at its finest: strong internal consistency, complex thought experiments, and a host of well-populated planets. The main difference between Deep Space Nine and the other series in Star Trek is conveyed in the name. Deep Space Nine is a space station in a continuous orbit around the planet Bajor, not a ship on a mission of exploration like the other series. Most of the action still takes place in the confines of the vessel with occasional jaunts to new and unique landscapes (similar to the away mission trope of other Star Trek series), but this change allows the show to delve deeper into the cultural and spiritual worldviews of non-Federation entities. That aspect of DS9 is what makes it especially valuable from a world building perspective.