Of surviving humans and apocalyptic machines

The article aims to critically examine the roles of humanity and posthumanity in Alastair Reynolds’s post-apocalyptic space opera Inhibitor Phase (2021). The study endeavours to show how in this post-apocalyptic and posthuman space opera, humanity emerges as the key player in determining the fate of the galaxy or even universe at large. In Reynolds’s masterfully crafted post-apocalyptic universe, is it not pure technological advancement sans human concern but basic human bonding that appears to be the determining factor when it comes to saving the final remains of the human or posthuman civilizations from the clutches of the nightmarish machines. It is by reassembling and regrouping the fragmented and isolated communities of survivors that mankind seeks to defeat a virtually unconquerable foe. In the process, the article also strives to show how the novel expands and extends the very scope of humanity and its definition and how through a fusion of posthumanism and post-anthropocentrism the agency and animacy of non-human entities also get redefined and redistributed. For the purpose of a theoretically enriched textual analysis, the author has adopted some important theoretical viewpoints from such thinkers as Rosi Braidotti, Deleuze and Guattari, Jane Bennett, Karen Barad and Gordon Coonfield.

Making Space for Myth: Worldbuilding and Interconnected Narratives in Mythspace

The comics medium has long proven to be fertile ground for worldbuilding, spawning not only imaginary worlds but multiverses that have become international transmedial franchises. In the Philippines, komiks (as it is called locally) has provided the Filipino popular imagination with worlds populated by superheroes, super spies, supernatural detectives, and creatures from different Philippine mythologies. The komiks series Mythspace, written by Paolo Chikiamco and illustrated by several artist-collaborators, takes the latter concept, and launches it into outer space. Classified by its own writer as a “Filipino space opera” consisting of six loosely interconnected stories, Mythspace presents a storyworld where the creatures of Philippine lower mythologies are based on various alien species that visited the Philippines long ago. The article will examine the use of interconnected narratives as a strategy for worldbuilding in Mythspace. Drawing from both subcreation and comic studies, this article posits that interconnected narratives is a worldbuilding technique particularly well-suited to comics, and that the collaborative nature of the medium allows for a diversity of genres and visual styles that can be used by future komiks creators to develop more expansive storyworlds.

Principales influencias de las novelas de space opera en el Perú durante el siglo XXI

El presente artículo tiene como finalidad comprender las principales influencias de las novelas enmarcadas en el subgénero de la ciencia ficción conocido como space opera producido en el Perú durante el siglo XXI. Para tal fin, se analizan 16 obras de siete autores distintos, publicados de 2000 a 2019. Estas obras son estudiadas desde su planteamiento ficcional, como muestra de una tradición literaria que empieza a forjarse en el Perú. Asimismo, se explorarán los lazos comunicantes entre las distintas obras, relacionados, principalmente, con representaciones de la cultura popular con matices generacionales.

Portrait of the writer: the peculiarities of literary technique of Roger Zelazny

The subject of this research is the unique literary technique of the prominent American fantasy and science fiction writer Roger Zelazny, the author of the world-renowned novels, such as “The Chronicles of Amber”, “This Immortal”, "The Lord of Light”, etc. The article is dedicated namely to determination of the key peculiarities of the poetics of his works. Special attention is given to characterization of his literary path, its periodization, the impact of Zelazny's predecessors – the authors of science fiction and classical world literature – upon his prose. It is noted that R. Zelazny was fascinated with various mythological systems, such as Egyptian, Greek, Norse, Celtic, and Christian. The scientific novelty of this article lies in the attempt to reveal and systematize the most remarkable features of the works of the American fantasy and science fiction writer, whose impact upon the modern fantasy literature can hardly be overestimated; however it has been poorly studied within the Russian literary studies. The conducted analysis of the poetics Roger Zelazny’s iconic novels, created within the framework of the four main stages, indicates the use such postmodernist literary technique as intertextuality. The matter of R. Zelazny is also characterized by psychologism, interpreted as the author's attention to the meticulous reconstruction of the inner cosmos of the hero, which resembles the result of the writer's passion for the ideas of psychoanalysis. Along with the other representatives of the New Wave, Zelazny was prone to the experiment with forms, as well as to the synthesis of the various fantasy genres. Therefore, many of his novels demonstrate the fusion of science fiction, fantasy, space opera, mystery, and detective fiction.

Battlestar Galactica and Space Opera: Transforming a Subgenre

Ron Moore, creator and producer of the reimagined Battlestar Galactica television series, outlined his proposed show's aesthetic in a manifesto aptly titled “Naturalistic Science Fiction or Taking the Opera out of Space Opera.” The title of this essay took a stand against the science fiction subgenre of space opera, asserting that it was outdated, overdone, and unrealistic. Moore's vision for his series revolutionized iconic elements of classic television space operas. Though Moore resisted the stigma of space opera, his reimagined series holds an inherent “operaticness”—a term first coined by opera scholar Marcia Citron. Battlestar Galactica has many operatic qualities, particularly in its narrative structure, cinematography, characters, and music. After analyzing Galactica's explicit evocations of opera, this article will explore the operatic features of the soundtrack and evaluate the characters intimately tied to the opera by tracing the tropes of gendered opera as outlined by Susan McClary and Catherine Clément. Through a detailed analysis of three episodes, I will demonstrate how Moore successfully constructed a series that relied deeply upon operatic qualities and resonances.

El cronotopo en la space opera: un análisis comparativo con la novela de aventuras

En este trabajo analizamos las características propias de la novela de aventuras y pruebas que Bajtín identifica como uno de los tres tipos esenciales de unidad novelesca. La exégesis de este cronotopo nos revela un esquema muy similar al que aparece en un popular subgénero de la ciencia ficción, esto es, la space opera. Nuestra conclusión es que ambos cronotopos, el de aventuras y pruebas, y el de la space opera, son bastante similares, salvo por un aspecto muy relevante: la reversibilidad temporal, ausente en este último como consecuencia de un menor protagonismo del suceso. Esto es consecuencia de una axiología heroica más propia de lo épico que de la novela, aspecto que también se analiza en el trabajo.

The Force Is Strong with This One (but Not That One): What Makes a Successful Star Wars Video Game Adaptation?

The Star Wars films have probably spawned more video game adaptations than any other franchise. From the 1982 release of The Empire Strikes Back on the Atari 2600 to 2019’s Jedi: Fallen Order, around one hundred officially licensed Star Wars games have been published to date. Inevitably, the quality of these adaptations has varied, ranging from timeless classics such as Star Wars: Knights of the Old Republic, to such lamentable cash grabs as the Attack of the Clones movie tie-in. But what makes certain ludic adaptations of George Lucas’ space opera more successful than others? To answer this question, the critical response to some of the best-reviewed Star Wars games is analysed here, revealing a number of potential factors to consider, including the audio-visual quality of the games, the attendant story, and aspects of the gameplay. The tension between what constitutes a good game and what makes for a good Star Wars adaptation is also discussed. It is concluded that, while many well-received adaptations share certain characteristics—such as John Williams’ iconic score, a high degree of visual fidelity, and certain mythic story elements—the very best Star Wars games are those which advance the state of the art in video games, while simultaneously evoking something of Lucas’ cinematic saga.