I watched the first season of Chilling Adventures of Sabrina (Netflix) with mixed reactions. It had just enough to keep me watching, but I didn’t think much of the writing. It has the same problem as a lot of modern fantasy — random, irrational, downright dumb (and in this case very unoriginal) world building.
The latter season tipped the scales entirely to an Ugh! rating for me. Television shows are rarely known for their intelligence, but this one has given me a new standard of worst-ever.
To be clear here, ‘I come, not to praise Sabrina, but to bury it.’
Neal Stephenson, like Greg Egan, is a hard science fiction author who never fails to delight me with something new and tasty. Both Stephenson and Egan seem able to leave footprints in otherwise well-trodden ground. Stephenson, in particular, often makes me LOL.
That’s not an acronym I use very often, but it seems especially appropriate here given this post is about The Rise and Fall of D.O.D.O., by Neal Stephenson and Nicole Galland. The book has so many tongue-in-cheek military acronyms (DODO, DTAP, DEDE, MUON, etc) that it has a glossary at the back.
The story concerns parallel worlds, wave-function collapse, and witches.
Science Fiction — or rather Speculative Fiction — has the general quality that it contains all other fiction genres. There is mystery and detective science fiction. There is romance (and sexual) science fiction. Action? Horror? Psychological thriller? Drama and pathos? Allegory? Westerns? Science fiction has them all and more.
In a sense, SF is just a property that fiction can have. I’ve tried to explain what I think that property is. I also took a stab at separating science fiction from fantasy. Now that thread resumes to explore the idea of SF hardness.
But first we return to and start with…