A Quote by Alan Moore
I think there's always been a traditionally apocalyptic side to British science fiction, from H.G. Wells onwards. I mean, most of Wells' stories are potentially apocalyptic in some sense or another.
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Science fiction has always been a means for political comment. H.G. Wells' 'The War of the Worlds' wasn't about a Martian invasion - it was a critique of British colonialism, and... 'The Time Machine' is really an indictment of the British class system.
I have always been intensely uncomfortable with the idea of a science fiction writer as prophet. Not that there haven't been science fiction writers who think of themselves as having some sort of prophetic role, but when I think of that, I always think of H.G. Wells - he would think of what was going to happen, and he would imagine how it would happen, and then he would create a fiction to illustrate the idea that he'd had. And no part of my process has ever resembled that at all.
Epic science fiction game, that's always been on my mind. Post-apocalyptic, 'Fallout,' was our first choice. Sci-fi was our second at the time, when we got the 'Fallout' license. We were going to do our own post-apocalyptic universe if we didn't get 'Fallout.'
Zombies are apocalyptic. I think that's why people love them because we're living in, not apocalyptic times, but I think we're living in fear of the apocalyptic times.
And I grew up on a steady diet of science fiction, especially apocalyptic and postapocalyptic fiction.
There is the apocalyptic influence in the Trumpean presidency: The world is destroyed in order to be purified and renewed in the ideal way that is projected by a Steve Bannon. And there is a sense of that when Trump says we'll make America great again, because he says it's been destroyed, he will remake it. So there is an apocalyptic suggestion, but I don't think it's at the very heart of his presidency.
I'll oil wells love you. I'll oil wells care. I'll oil wells need you. I want you oil wells dear.
In the century-long history of Chinese science fiction, apocalyptic themes were mostly absent. This was especially true in the period before the 1990s, when Chinese science fiction, isolated from the influence of the West, developed on its own.
Science fiction has never been about the future; it's always been about the present day whether it's Victorian England that Wells was writing about or the post-9/11 era that I'm writing about.
The popularity of fantasy surpassing science fiction and the popularity of apocalyptic fiction, particularly for young adults, may indicate a desire to escape a more difficult and confusing reality, even in astrophysics and particle physics.
Even in a crowded field, it is a rare pleasure to come across a prose stylist like Kellie Wells, whose intellect and language bid one another beautifully to a dance. She dares to be at play in the most unsettling questions of her day. Surely when the present generation of writers shakes down to its unique and irreplaceable voices, Kellie Wells will be one of them.
My first encounter with science fiction was reading the work of H.G. Wells when I was nine or ten, and I don't believe 'The War of the Worlds' or 'The Time Machine' have ever been bettered. Plus, I have always had a liking for Victorian and Edwardian clothes and contraptions, which tends to color the worlds I dream up.
So many wells have been dug in Changzhou that its groundwater has been over-exploited, and the local ground level has sunk by two feet. The city has officially banned new wells and mandated the installation of pollution controls, but China's endemic corruption ensures that neither measure has much meaning.
I had the good fortune of speaking with Orson Wells many decades ago and he said 'Success is primarily luck anyway.' And I have been very lucky. Of course, Orson Wells was enormously talented and brilliant - so who am I to argue with him!
But wells don't come without first begging to see the wells; wells don't come without first splitting open hard earth, cracking back the lids. There's no seeing God face-to-face without first the ripping.
Apocalyptic expectations ran riot in 1917, and had a major influence on Allied policies towards Palestine and the Jewish people. The propaganda of all nations was amazingly religious and apocalyptic - ghosts and visions, crucifixions and sacrifice, crusaders and holy warriors.
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