Interstellar Travel in the New Science Fiction

The future of humanity in space is not guaranteed. Great cultures have arisen in the past, set their sites on great and, from their perspective, inevitable goals, and failed. Science fiction literature has been a guide post for space exploration from the early days. Much has changed since Arthur C. Clarke and Isaac Asimov wrote. Our political and international world is different. Our technology has branched into different and unforeseen areas. With the current technological expansion in view, what do today’s science fiction writers say about interstellar exploration? What pitfalls do they see? What is the roadmap they present now? What challenges do they show? Is there an agreement upon the timeline? What technology shows promise? What dangers do they predict out there? The presentation will present a survey in review of current science fiction on the topic of interstellar exploration. The foundation for this has arrived from serving as judge of the Lifeboat to the Stars literary award for science fiction literature focusing on interstellar efforts. This award was presented at the 2013 Campbell Conference.

Daniel Abraham: “No, I don’t think interstellar travel, space empires, etc. are at best

science fantasy any more than they ever were. Or, putting it the other way, they haven’t become any less likely, in the recent past. They’ve

always been the stuff of fantasy. That didn’t used to be a problem.

The thing that has changed, I think, is the requirement that science fiction be somehow rigorous to be taken seriously. When I look back at the classic science fiction that I grew up with, a lot of it didn’t pass the

sniff test. Larry Niven had teleportation, giant alien cat warriors, and human’s eugenically bred for their luck. Arthur Clarke had God turning

out the stars. Herbert had giant freaking worms digging through a desert rich in psychoactive space fuel. Unsophisticated as I was, I

didn’t see anything wrong with that. Still don’t.

I see two things happening with the genre. The first is that it’s becoming the primary idiom of pop culture. The second is that, in

response to that, there is a narrower and narrower definition of “real” science fiction which uses terms like “science fantasy” to exclude

work which isn’t somehow pure enough. I think that there’s a real risk of science fiction going the way of jazz music and poetry in which it

becomes a more and more sophisticated, narrow, and inaccessible form dedicated to meeting the standards of a smaller and

smaller elite.

JAMES BLODGETT:“Humanity could use fresh inspiration for space travel.  The

public and even the science fiction field seem discouraged with space after initial enthusiasm.  Folks in 1940 and 1960 could extrapolate from the Wright Brothers’ airplane to the airliner

and later the jetliner, amazing progress which took only a few years.   The discovery of atomic power suggested miracles to

come.  This progress was plausibly extrapolated to predict amazing progress in the near future, the near future of 1960. 

Subsequent space developments have been underwhelming.  It is no surprise that science fiction has shifted from space opera

to dystopia.  However, there are new plausible visions that could lead to amazing developments in space, a space-based

form of singularity.  The nanotech and artificial intelligence versions of the singularity can also suggest ways to get us into

space.   There are several types of existential risk that have prompted folks like Hawking to think that we had better get

going into space, making the point that space travel is existentially important.  We are on the cusp; with

disorganization and bad luck we may never develop space and we may go extinct; with focused work and good luck we may see an exponential future in space that can produce amazing

prosperity and expand humanity by orders of magnitude.”

Takeaways• 100YSS is an exercise in applied Science Fiction• Science fiction has its roots in fear and wonder, legend and mythology,

exploration and reflection.• Science Fiction does not provide a roadmap to future developments• First and foremost, Science Fiction accepts the fact and inevitability of change.• Science fiction and innovation exist in a circle of influence, mutually dependent

upon each other.• It may be the case that the future worlds and infinite possibilities projected in

science fiction can be used to inspire viewers to pursue work that will make those

possibilities or ones like them, real.• The are ways to read science fiction that could be negative / dangerous.• Reality is a mess and science fiction is developed and influences within that me• Science fiction does get it wrong• But Science Fiction Does get it right . . .

Science Fiction does not provide

a hard roadmap to

future developmen

ts.

What does Science Fiction do?• First and foremost, it accepts the fact and inevitability of change.

• Frame dilemmas and puzzles that could arise

• Play out possible consequences of future innovation

• Normalize and/or make desirable certain technology

• Suggest paths to innovation

• Inspire invention

• Reflects the speculative thinking of a generation

• Create a mindset that leads to innovation (if not able to predict it exactly)

The “Extraordinary” Voyage

“the roots of what we now call science fiction are found in the fantastic

voyages of the Andient Greek novel; and I sue the Vernean phrase voyages extraordinaires . . . especially voyages

to other planets.”—Adam Roberts The History of Science

Fiction

The “Extraordinary” Voyage“Stories of journeying through space

form the core of the genre . . . Are the trunk, as it were, from which the

various other modes of SF branch off.””

—Adam Roberts The History of Science Fiction

Why this review?• Not as a roadmap• As a literary review to analyze how writers are grappling

with interstellar now • Looking at Science Fiction in the age of the actual

interstellar mission/organization• Looking at interstellar fiction as a sub-genre:

⁃ Has is wained? Has it been abandoned? How has it

changed?• Gleaning for unique thoughts• Sifting for commonality of thought; as a reflection of the

culture as a whole

Contemporary Science Fiction (Today’s Writers)• Books published in the 21st Century 2000; with a

focus on works since 2010.• Avoidance of works with IPs and previously

published methods prior to 2000.• Focused on travel between planets within our

dimension. Avoided works that focused on travel

between different dimensional worlds.• Not exhaustive

Fictional Approaches to InterstellarAstronomical distances and the impossibility of faster-than-light travel pose a challenge to most science-fiction authors. They can be dealt with in several ways: • accept them as such (hibernation, slow boats, generation ships,

time dilation - the crew will perceive the distance as much shorter and

thus flight time will be short from their perspective),

• find a way to move faster than light (warp drive), "fold" space to achieve

instantaneous translation (e.g. the Dune universe's Holtzman effect),

• access some sort of shortcut (wormholes),

• or sidestep the problem in an alternate space: hyperspace.

Interstellar MethodsFTL: Faster than light• Warp• Hyperspace• Fixed point• Jump• Wormhole (stargate)

STL: Slower than Light• Generation Ship

Unique Approaches

Acquisition of MethodHuman-developedAlien-developedOther

Crew• Normal Humans• Enhanced (Bio / Tech)• Aliens• Robotic• AIs• Seed Colony / Embryonic

Commonwealth Series Peter HamiltonExpanse Series James S. A. CoreyEon Series Greg BearThe Sparrow Mary Doria RussellOn the Steel Breeze Alastair ReynoldsGreat North Road Peter HamiltonBattlestar GalacticaSins of a Solar EmpireSword of the StarsHalo series

The Light of Other DaysArthur C. Clarke and Stephen Baxter

Palimpsest Charles StrossFarscapeHouse of Suns Alastair ReynoldsThe Algebraist Iain M. BanksOld’s Man War John ScalziRevelation Space Alastair ReynoldsExistence David BrinColony Rob GrantAscensionFirefly Joss WhedonKovacs series Richard MorganSeedIn Which Faster-Than-Light Travel Solves All of Our Problems Chris StabbackThe People of Pele Ken LiuFive Elements of the Heart Mind Ken LiuAcross the Universe series Beth RevisThe Tortoise & The Hare / The Grasshopper and the Ants

Kevin J. Anderson / Steve Savile

Bowl of Heaven / ShipstarGregory Benford, Larry Niven

The Lost Fleet series Jack CampbellThe Creative Fire Brenda CooperIn the Lion’s Mouth Michael FlynnEarthbound Joe HaldemanOuter Diverse Nina MunteanuAshes of Candesce Karl ShroederHome Fires Gene WolfeCount to a Trillion John C. WrightA Delicate Balance Kevin J. AndersonTwenty Lights to “The Land of Snow” Michael BishopA Country for Old Men Ben BovaOvertaken Karl BunkerScattered Along the River of Heaven Aliette de BodardConnoisseurs of the Ecentric Jetse de VriesAgainst Eternity David FarlandLesser Beings Charles E GannonIt Pays to Read the Safety Cards RWW GreeneOther Systems Elizabeth GuizzettiTranscript of Interaction Between Astronaut Mike Scudderman and the OnStar Hands-Free A.I. Crash Advisor Grady HendrixThe Big Ship and the Wise Old Owl Sara A HoytChoices Les JohnsonThe Old Equations Jake KerrThe Waves Ken LiuDesign Flaw Louise MarleyLucy Jack McDevittWaiting at the Altar Jack McDevittNoumenon Robert ReedSiren Song Mike ResnickThe First Day of Eternity Domingo Santos

Shattering Steven UtleyStar Soup Chris WillrichAncillary Justice Anne LeckieNeptune’s Brood Charles StrossLockstep Karl ShroederEmbassytown China MievelleOdyssey One series Evan CurrieVatta’s War series Elizabeth MoonFortune’s Pawn / Paradox series Rachel BachDiving series Kristine Kathryne RuschPushing Ice Alastair ReynoldsConfederation series Tanya HuffPolity series Neal AsherGrand Central Arena Ryk E. SpoorThe Taken Trilogy Alan Dean FosterSpin Trilogy Robert Carles WilsonDread Empire’s Fall Trilogy Walter Jon WilliamsKop series Warren HammondEve OnlineWeb Shifter series Julie CzernedaTrader Pact series Julie CzernedaLight Trilogy M. John HarrisonBlindsight Peter WattsThe Future Happens Twice Matt BrownIt's Always Spring Break Somewhere in the Galaxy" Raven C. S. McCrackenInterstellar Christopher NolanMass Effect Casey Hudson

THE WORKS:• 85 Distinct Pieces• 46 novels (and/or series)

series were given one entry (i.e. Bowl of Heaven and Shipstar by Benford /Niven)

• 25 short stories (primarily after 2010)

• 5 TV shows• 1 Film• 6 Video Games• 1 Novella

RESULTS:39 use FTL (46%)40 use STL (47%)Of those 40 STL,

21 are Generation Ships

Of the 39 FTL:0 stories employing Warp.

While being pursued by Harold White building upon Alcubierre’s work, this still feels as if its IP of Star Trek.

12 use Hyperspace5 use fixed-point jumps9 total using a jump-based technology // I had

to add an entry to my original set of propulsion method: Fixed point Jumps

10 use wormhole3 uniques (unclassifiables)

Acquisition of Interstellar:In 51, humans develop the

capability for interstellar ourselves

Yet, in 15 we receive the tech as a gift from the aliens

The others are nondescript

IN NOVELS ALONE:59% use FTL (27)39% use STL (18)7 generation ships (16%)6 Hyperspace (13%)3 Fixed (7%)6 Jumps (13%)6 Wormholes (13%)

SHORT STORIES6 use FTL (18%)18 use STL (72%)11 Generation Ships

(44%)1 HyperspaceThe other five are non-

explanatory

REPEATED THEMES:Older generation ship overtaken by newer, faster ship

Winner of the Lifeboat to the Stars Award: Anderson’s “The Tortoise and the Hare” and Overtaken by Karl Bunker

WARP is not used.

The fantastical, unexplainable HYPERSPACE is far-more often employed (12 used; the most called upon of all FTL methods)

Jumps are employed . . . This was a category I had to add.

The gift of the gods: Aliens so far removed from us . . . Interstellar acquired from

themCorey’s Expanse Series: advanced fusion drive for

interplanetary, extra-terrestially created wormhole device for interstellar// STL at first, discovery of Wormhole in third book

YET, more often than not, HUMANS develop FTL or STL to the stars on THEIR OWN! 51 of the 85 show this.

Short fiction tended to focus on character-interaction and life ON GENERATION SHIPS; a theme that isn’t repeated oft in the longer form works.

STL (solar system locked) at first; FTL or interstellar capabilities at the end:

Expanse Series, Charles Stross’ Neptune’s Brood, Alastair Reynold’s Blue Remembered Earth and On the Steel Breeze

REPEATED THEMES:Yet, more often than not, humans develop FTL

or STL to the stars on their own. 51 of the 85 show this.

Short fiction tended to focus on character-interaction and life on GENERATION SHIPS; a theme that isn’t repeated oft in the longer form works.

STL (solar system locked) at first; FTL or interstellar capabilities at the end:

Expanse Series, Charles Stross’ Neptune’s Brood, Alastair Reynold’s Blue Remembered Earth and On the Steel Breeze

UNIQUE AND MENTIONABLE APPROACHES & CONCEPTS:Scalzi’s SKIP DRIVE

Greg Bear’s Eon series: THE WAY

Neal Asher’s Polity series uses RUNCIBLES for instantaneous transport (a nonsense name)

Karl Shroeder’s Lockstep: STL ships, FTL transmissions of data, including personalities. // All human settlements participating in the shared culture agree to go into periodic long cold sleeps even if they are not travelling. By making the interstellar trip during these periods of shared cold sleep people in different star systems can travel effectively "overnight". That means you can do trade with other star systems and still have your family and friends alive when you come back home.

Brin’s Existence — probes with copied AIs scour/seed the galaxy. Both FTL / Biologically-based interstellar is simply impossible.

There is a generation ship in Corey's Expanse series built by the Mormons but never released.

Alastair Reynolds’ Blue Remembered Earth and On the Steel Breeze; African-nations develop true solar system colonization

Alastair Reynolds’ House of Suns: a galactic civilization on STL capabilities (also interesting concept: the absence — the andromeda galaxy has disappeared); planet-based societies are short-lived; Consequently, the most powerful entities in the galaxy are the "Lines"—familial organisations made of cloned "shatterlings". The Lines do not inhabit planets, but instead travel through space, holding reunions after they've performed a "circuit" of the galaxy; something that takes about 200,000 years.

UNIQUE AND MENTIONABLE APPROACHES & CONCEPTS:There is a generation ship in Corey's Expanse series

built by the Mormons but never released.

Alastair Reynolds’ Blue Remembered Earth and On the Steel Breeze; African-nations develop true solar system colonization

Alastair Reynolds’ House of Suns: a galactic civilization of STL capabilities (also interesting concept: the absence — the Andromeda Galaxy has disappeared); planet-based societies are short-lived; Consequently, the most powerful entities in the galaxy are the "Lines"—familial organisations made of cloned "shatterlings". The Lines do not inhabit planets, but instead travel through space, holding reunions after they've performed a "circuit" of the galaxy; something that takes about 200,000 years.

NEXT STEPS:Compare this to the previous generations/ages

Add the suggested elements from the Lifeboat Foundation Bibliographic Survey:

Trip Focus (how much is the story about the trip, how much of the story is about trip technology, plausibility, believability, imagination, motivational)

Story MoodTime FramePolitical SystemViolation of constructClarity of storytellingTransport: power source, propulsion method, mission

type, crew conditions, tech/astronomy assumptions, destination, crew composition, extra-solar life, source of star transport tech,

Recommended Reads:“A Thousand Points of Light” . . . The

search for the next incarnation of the Dalai Lama on a starship

Brin’s ExistenceReynolds’ Blue Remembered Earth"Lucy" by Jack McDevittThe Expanse series by Corey. Space

Opera constrained to our solar system. Both operatic and tangible.

Thanks to the R/PRINTSF Sub-Reddit

Specifically: Starpilotsix, superkuh, sigkircheis, fritz_freiheit, escielenn, gonzoforpresident, systemstheorist, strolls, twistytwisty, weezer3989, miloshvu