Changes

The twentieth century saw science fiction become far less serious in its purpose. The works of [[Hugo Gernsback]] and others were intended merely to entertain and amuse--in other words, to help the reader escape an unpleasant reality. But reality would soon reimpose itself on the imaginations of science-fiction writers. The nuclear attack on the [[Japan|Japanese]] cities of [[Hiroshima]] and [[Nagasaki]] inspired many writers to create [[monster|monsters]] ([[Godzilla]], [[Rodan]], ''etc.'') of tremendous size and destructive power comparable to the power of [[nuclear weapon]]s. Other writers speculated anew on the harms that can result from playing fast and loose with dangerous new forces--in this case, [[Atoms|atomic]] [[radiation]]. The deepening mutual scorn in which the [[United States of America]] and the [[Union of Soviet Socialist Republics]] held one another, originally inspired works featuring [[Extraterrestrial life|extraterrestrial]] expeditionary forces coming to the earth to make war upon humanity (or occasionally to catch humanity in the crossfire). Later writers, editors, and producers, like [[Gene Roddenberry]] (of [[Star Trek]] fame), would speculate that humanity would expand on new voyages of discovery, only to end up fighting with enemies that looked and behaved very similarly to whatever power was foreign to the writer's nation-state of origin. This era would also see the writing of the ''[[Dune (novel series)|Dune]]'' series of novels by [[Frank Herbert]], in which humanity would expand throughout a vast region of the universe, only to divide into interstellar and trans-galactic versions of the civilizations then extant in the 1960's, and even have conflicts over natural resources that closely mirror the struggle for control of such resources, chiefly [[petroleum]], today.

The twentieth century saw science fiction become far less serious in its purpose. The works of [[Hugo Gernsback]] and others were intended merely to entertain and amuse--in other words, to help the reader escape an unpleasant reality. But reality would soon reimpose itself on the imaginations of science-fiction writers. The nuclear attack on the [[Japan|Japanese]] cities of [[Hiroshima]] and [[Nagasaki]] inspired many writers to create [[monster|monsters]] ([[Godzilla]], [[Rodan]], ''etc.'') of tremendous size and destructive power comparable to the power of [[nuclear weapon]]s. Other writers speculated anew on the harms that can result from playing fast and loose with dangerous new forces--in this case, [[Atoms|atomic]] [[radiation]]. The deepening mutual scorn in which the [[United States of America]] and the [[Union of Soviet Socialist Republics]] held one another, originally inspired works featuring [[Extraterrestrial life|extraterrestrial]] expeditionary forces coming to the earth to make war upon humanity (or occasionally to catch humanity in the crossfire). Later writers, editors, and producers, like [[Gene Roddenberry]] (of [[Star Trek]] fame), would speculate that humanity would expand on new voyages of discovery, only to end up fighting with enemies that looked and behaved very similarly to whatever power was foreign to the writer's nation-state of origin. This era would also see the writing of the ''[[Dune (novel series)|Dune]]'' series of novels by [[Frank Herbert]], in which humanity would expand throughout a vast region of the universe, only to divide into interstellar and trans-galactic versions of the civilizations then extant in the 1960's, and even have conflicts over natural resources that closely mirror the struggle for control of such resources, chiefly [[petroleum]], today.

Eventually, however, this theme would give way to hopeful tales of [[God-substitute]]s promising to solve all humanity's problems, if humanity's leaders were smart enough not to provoke such people to war. However, [[George Lucas]], borrowing heavily from The Lord of the Rings by JRR Tolkein (Indeed it has been caleld the Lord of the Rings in Space), and somewhat from Frank Herbert's concepts for ''Dune'', would create a story arc (''[[Star Wars]]'') set in a far-distant [[galaxy]] that, as he now reveals, is a metaphor for his perception of the War in [[Vietnam]] and the role (which in Lucas' view is ''not'' flattering) of the [[United States of America]] in the civilized world today. In the process, Lucas combined the technological prowess shown by producer [[Stanley Kubrick]] in ''[[2001: A Space Odyssey]]'' with the production values and sensibilities of the science-fiction [[B movie]]s of the 1950's and 1960's to create the special-effects-laden "blockbuster" formula that dominates [[motion picture]]s today.

Eventually, however, this theme would give way to hopeful tales of [[God-substitute]]s promising to solve all humanity's problems, if humanity's leaders were smart enough not to provoke such people to war. However, [[George Lucas]], borrowing heavily from The Lord of the Rings by JRR Tolkein (Indeed it has been called the Lord of the Rings in Space), and somewhat from Frank Herbert's concepts for ''Dune'', would create a story arc (''[[Star Wars]]'') set in a far-distant [[galaxy]] that, as he now reveals, is a metaphor for his perception of the War in [[Vietnam]] and the role (which in Lucas' view is ''not'' flattering) of the [[United States of America]] in the civilized world today. In the process, Lucas combined the technological prowess shown by producer [[Stanley Kubrick]] in ''[[2001: A Space Odyssey]]'' with the production values and sensibilities of the science-fiction [[B movie]]s of the 1950's and 1960's to create the special-effects-laden "blockbuster" formula that dominates [[motion picture]]s today.

== Science fiction and [[evolutionism]] influencing one another ==

== Science fiction and [[evolutionism]] influencing one another ==