Obsessive Rationalization of Unrealistic Genres

I am constantly amazed and disappointed by people’s perpetual insistence on willful ignorance and disregard of logic. It is common to tout that people are able to “distinguish reality from fiction”, but I am finding that hard to believe. This ailment is especially prevalent in fans or supporters of a particular lore; enjoyment of a genre appears to be a debilitating disease that leaves its victims completely incapable of making concessions to critics.

Let’s examine two examples. First, zombie lore. The genre is wide and diverse, but is generally accepted to be a gross fabrication and completely improbable, right? Nope. There is a fixation on coming up with more and more “realistic” explanations of how a zombie apocalypse could “actually” come to be. This is true both in media — we see the introduction of terms like “infected” to make the scenarios seem more authentic — and in the fan culture surrounding it. Look at any article on the Internet pointing out the most obvious reasons that a zombie apocalypse would never arise, and you will see a flood of comments defending the feasibility of such a scenario. Do they think that pointing out the unrealism of the genre is somehow offensive? That explicitly distinguishing reality from fiction (in a genre that is constantly trying to move the latter towards the former) somehow invalidates the fiction? It boggles my mind that people feel the need to defend the feasibility of a clearly fictional and improbable scenario.

But this feeling of wonder is only compounded whenever I accidentally wander near Star Wars or Star Trek fans. Both these franchises are clearly future fantasy (where technology serves only to further the plot, as opposed to hard science fiction, where there is a clear bi-directional interplay between the two). Yet many fan sites are created to help flush out the technological lore and attempt to apply rational, scientific explanations to the events in the media that are clearly only in service to the plot. If you point this out to a fan, they will become indignant and start explaining their way around any obstacle you toss at them. Never mind that the whole thing is fictional and doesn’t actually need to be scientifically accurate in order to be entertaining (and in fact was never intended to be scientifically accurate). This madness continues to the degree that later productions in the franchise may even try to explain some of the happening with science, but 9 times out a 10 this only bungles things up further.

Anyways, I wish die-hard fans would accept that they are fans of a fictional entertainment franchise that not only isn’t realistic or feasible, but in fact doesn’t need to be in order to be entertaining. Being unrealistic does not invalidate zombies or Star Trek or Star Wars in any way. So get over the fact that none of those franchises make any damn sense.



Here is a story I recently wrote. It was written over the course of an afternoon, for a school assignment.


One of the first few expeditions found him. As they plunged off their boat into the icy Atlantic and slogged onto Snaeland at, as they dubbed it, Seydisfjordur, his hollow ravings echoed down from the foothills and caused much inquiry. A group of the Norsemen set out from the expedition’s shore-side camp, and hiked up towards the source of these cries. They found him living in the carcass of a busse; the ship looked like it had been washed into the mountains, its beams broken across the crevices of the hills, its oars splintered on the tall pines. The Norsemen, not a little confused, dragged the raving lunatic back to their camp and kept him in an uthu adjoining the longhouse. For the next two nights, the Norsemen argued over what to do. Some wanted to hang him as an offering to the All-Father, but most were willing to wait and hear the prisoner’s explanation before deciding. How could such a heavy ship be lifted inland as far as a day’s walk?

After a few days of food and drink, the man began to speak some sense. They found his name was Gormund. As soon as this news spread, everyone was intensely curious to hear his story. In slow strides of language, Gormund began a discourse. His clothes were ragged and his hair long and unkempt, but his tongue was as erudite as the best skald. Gormund held himself very calmly, but every word he spoke was laden with insanity. Over the course of two days Gormund disgorged an enthralling madman’s tale.

He detailed an expedition made from Volmong (after explaining that Volmong was a Norse settlement hidden away in the mountains of Iberia, which was met by much disbelief), which had raided a string of monasteries. As they found out, these monasteries housed adherents to the Societas Eruditorum. Soon they had Charlemagne breathing down their necks. Pressed, the settlement held a thing, in which they decided that Volmong was doomed. The settlement was the size of a hundred, and leaving was never really an option, though not for lack of trying. The Norseman’s place is on the sea, not in the highlands; the settlers of Volmong were folly for ignoring that. The slow caravan to the coast was cut down en masse by the underfed armies of the mainland conqueror. Only a handful of longships left the Iberian shore, and fewer navigated the Channel successfully.

On the third day of Gormund’s consciousness, his narrative was cut short when a lookout cried from the palisade. A Gaelic warship had appeared off the coast. The men, suddenly electrified by the chance of combat, began to arm themselves, and pushed off in one of their three longships, dragging Gormund along in spite of, as they found, his deathly fear of the sea. As their longship drew closer to the Gaelic craft, the Norsemen made out its shape: it had the contours, in the front, of a Roman bireme, maybe a trireme, but as it turned they saw that the back was rough and squarely built. When the ships were three thousand fot apart, the Norsemen saw why; a massive ballista was mounted on the head of the Roman warship.

Too late to reconsider tactics, and already heady from bloodlust, the Norse threw their backs into the oars and plowed towards the Gaelic ship at ramming speed. The Gaels loosed a flaming bolt from the ballista, which struck the drum beater. The weight of the shaft sheared his body in two, and the flaming oil spilled across the deck of the longship. With cadence broken, the oarsman made slower progress, but still they closed the gap between the ships. Another bolt was loosed, and it struck the side of the longship, shearing away many oars. Crippled, the Gaels lobbed flaming bales of hay onto the longship, and sat apart as the burning wreck sank into the cold Atlantic.

The Gaels dragged the two floating survivors aboard. One was conscious, and lashed out at his rescuers. They cut his throat and dumped him into the ocean. The other corpse was limp, but after some time of lying on the deck, he awoke, sputtering. The druid aboard hoisted the man up and pressed him against the forward mast, seeking fear in his prisoner’s eyes. But as the druid gazed, he saw a spark erupt within the Norseman’s eyes. Backing away in fear, he averted his gaze as the man’s face glowed an unearthly pallor. Gormund then spoke out in Gaelic, in an attempt to quell his captor’s fear. Of course, this was in his best interest; he didn’t want these Britons dumping his lifeless body in the cold Atlantic. He said, “I am Gormund, son of Bjiolnir. Bring me to Kaupang.” The Gaels could do nothing but obey him, and so they sailed to Kaupang. They left him on the ocean-shore of Outer Kaupang.

When he reached a fishing village on the bay-shore, the villagers took him in as a fellow Norseman. When beseeched to explain his business, he refused. When pressed, he warily recounted his passage from Seydisfjordur. The villagers, realizing he was a madman, locked him in the boathouse. The next morning they sent an envoy to Inner Kaupang to inform the herad-lord of a madman who claimed to hail from Snaeland. The herad-lord, on a whim, called for the man to be brought to his longhouse.

The next day, Gormund was brought before Þorhrafn, the herad-lord. “I am Þorhrafn, son of Harald, son of Refrbrandr, chieftain of Kaupang and contender for the throne of Skiringssal. Name yourself,” commanded Þor.

“I am Gormund, son of Bjiolnir. I hail from this town.”

“You say you live here, eh? You claim to have come from Snaeland.”

“I was with a landing at Seydisfjordur, when a Gaelic warship sunk the Karvi we launched. I convinced the Gaels to transport me here.”

“A Gaelic ship got you? Hah! And you convinced a ship of victorious Gaels to ferry you a hundred vei? How’d you manage that? Got an all-tongue, do you?” The chieftain guffawed.

“Yes, I have been granted such powers by the gods.” At this, the herad-lord let out a cry, and doubled over laughing.

“Qlfuss tunga! Hah!”

“I was at Volmong, where we raided Societas Eruditorum bastions. They have unlocked many secrets of the gods.”

“Bahahaha! What is Volmong? You’re a crazy ‘kilg’n!” The chieftain turned to his attendant warriors, “Give his life to the All-Father.”

Gormund spoke out again, his voice slightly modulated, “Do you want to know how I got to Snaeland?” The warriors paused. “As I was sailing home, to Kaupang, when the worst storm any of us had ever seen beset our ships. Waves like giants walked among us, and threatened to carry our busse from the sea and into the sky. One by one, we lost sight of the other boats, their calls spirited away on more powerful gales, their image divided from us by sheets of water, and their wake obliterated by the churning of the sea. The sky and water were the same color, and the water so enveloped us that there became no difference between air and water, sky and sea, light and dark. The same wet grayness surrounded us for what seemed like an eternity.

“I hope the others fared better than our lot, but since you seem to be unaware of any return, I can only assume they succumbed to the sea, their valiant defense of the ship falling to a crushing blow of water… such a fate would be better than our own.

“At one point, I became distinctly aware that a set of eyes besides our own were among us. Yet every time I would turn to face the intruder, I found nothing. But then I, and others, noticed a transient murky form beneath us. Moments passed, in which the sea seemed to calm. Then a crew member cried out; the largest wave I have ever seen, seeming to rise above the sky itself, towered above us. As I watched, two glowing eyes pierced through the gray veil of the water, followed by a hulking, coiled shadow beneath the surface. I made out two enormous wings, limbs, and a wrapping tail. A silence descended, in which only the rushing of water was heard. Somebody cried, “Jormungandr.” Then the world went dark.


“The next thing I recall is being found in Snaeland by the Seydisfjordur expedition. When I regained sanity, I remembered in a rush the campaign in Iberia. The Societas Eruditorum had given me things stolen from the vaults of the gods. Loki sent the World Serpent to apprehend me, to destroy my ship and return what was taken. Jormungandr’s storm carried our ship to Snaeland, and only I survived. I suspect that Jormungandr will return; he didn’t get what he wanted. My purpose in returning to Kaupang is to raise a force to fight him off.” As Gormund finished, the throne chamber echoed emptily. Þor considered these words, rolling his tongue around in his mouth as if appraising the taste of the tale. The only noise was the crackle of the fire. Then the herad-lord snorted.

“That is quite the tale. And one I’m not particularly inclined to believe. Even if I thought you weren’t a qlfuss, your story doesn’t make sense. Why wouldn’t the Serpent get you while in transit from Snaeland? Why not send a god to take back… whatever you stole, rather than a Loki-spawn, no less? Would not Jormungandr’s release of Midgard to attack you allow the oceans to spill over? And what was it that you stole?”

“The all-tongue, to name one.” Gormund paused, and was about to speak again but was interrupted by a courier, bursting into the chamber.

“The sea is boiling!” he cried. Everyone rushed outside. Gazing at the sea from atop the town-fort walls, they saw that indeed, the frothy waves had sheets of steam rising off them. A storm had come up, and dark clouds coated the Kaupang coast. Giant waves smashed the shore, breaking some of the boathouse piers. Then, from the water, a tower column of scales and flesh emerged, atop which sat a terrible head, with a maw lined with innumerable teeth. A horror fell upon the lord and his warriors.

Gormund muttered under his breath, “Jörmungandr.”

A Solution for Difficulty Curves and Power Creep

Most games portray you as a hero of some sort. A common trope is for the hero to be either inexperienced at the beginning of the game, or lack his equipment. This gives a reason for why the hero does not just plow right up to the main baddie and kill him at the beginning. In any case, a lot of games suffer from a strangely shaped difficulty curve. The game starts out fairly easy as the player learns the ropes, then the enemies get harder. Finally, you max out your stats and the game begins to get easier again.

Granted, the best games suffer from this less, but a lot of games have trouble with this type of power creep. Spore is a prime example of a ridiculously easy endgame (the space stage was essentially a sandbox). Some developers solve this by making enemies more powerful as the player progresses. This can work in games where, for instance, the enemy starts to realize just how much of a threat you are. In open-world games like Skyrim, though, this makes little sense.

Yahtzee, of Zero Punctuation, mentioned in one of his Extra Punctuation an inkling of an idea for a game that is designed with this problem in mind. I have taken the liberty of gripping the nebulous concept by the horns and fleshing it out.

The game is based around the power suit you wear. It is a magnificent piece of High Technology. Unfortunately, this means that nobody is quite sure how it works. The machining of the piece is much too fine to replicate, in any case, which means any replacement parts have to come from other pieces of High Technology, which are few and far between.

At the start of the game you escape from the main fortress of the Bad Guys with some sort of Valuable Item (perhaps information). You raid the armory and steal the suit before plunging yourself deep into the wilderness around the citadel. You spend the game running from a cadre of pursuers, trying to make your way to the border. At every encounter with an enemy, it is up to you to protect your suit as much. Each blow is physically simulated and, depending on where you place armor, where the hit was, how hard it was, etc. a component on your suit has the potential of breaking. Parts also wear down over time.

The most critical part of the game is deciding how to keep your suit in working order. Some systems are critical, like the pneumatics that let you move (damage to arm parts may impair aiming speed, damage to legs may reduce speed or jump height, etc), and some are dispensable, like weapons. If a critical system receives a hit and becomes in critical danger of breaking down, you have to stop and either fix it with any spare parts you find, or scrap a non-critical system on your suit to get the essential parts.

This meta-game with the suit solves the problem of power creep. You are at maximum power at the beginning, but enemies are also at the greatest density. Slogging through the wilderness and fighting enemies wears your suit down, so by the end you are barely limping along. As time goes on, you have to choose which weapon or system to scrap for parts. This means that you get a sample of all abilities at the beginning, and can keep the ones that best suit your play style. One of Bioshock’s biggest problems was that there was no incentive to try new plasmids. I’m sure the majority of players just improved the starting set, because buying new powers was too much of a liability.

I like the idea of having the game being mostly free-world. You can choose the best path through the different types of terrain to avoid encounters. Cold environments, wet environments, and sandy environments all have different types of wear and tear on the suit. Roads are easy to traverse (meaning less food consumption and lower likelihood of suit failure) but are more likely to find troops on them. Towns and other population centers are more likely to hold supplies (food and maintenance items are critical for survival) and spare parts, but the citizens will raise the alarm if they see you, and there are likely to be troops in towns.

The catch is that any alarms you raise will alert the search parties to your general presence and means a higher chance of encountering troops. Same goes for any military engagements in which an enemy scout or survivor escapes. The game is part stealth (avoiding conflict), part tactics(managing the suit, choosing your world route), part combat (winning conflicts you get into). At the end, instead of a boss fight, you have a final battle at the border of the kingdom as the search parties converge on your position and a friendly militia comes down from the other side of the border to help you across.

Failure of Fantasy

Here’s the question: what is fantasy?

1. imagination, especially when extravagant and unrestrained.
2. the forming of mental images, especially wondrous or strange fancies; imaginative conceptualizing.

That definition sounds pretty good.

“Fantasy is a genre of fiction that commonly uses magic and other supernatural phenomena as a primary element of plot, theme, or setting.”

That one doesn’t. Fantasy is not about “magic” or “the supernatural” in and of themselves, although they certainly must be central to the story. Fantasy is about taking participants in the story to a universe that contradicts the participants inherent expectations about the way things work. The story told hinges on this new and unpredictable world. Participants get to explore an unfamiliar world as they follow the characters on their journey.

Using this definition, a lot of self-proclaimed “fantasy” isn’t really fantasy at all. Whenever a “fantasy” story casts its story in a world of dwarves, elves, harpies, vampires, werewolves, goblins, orcs, wizards, etc. it is doing so because most fantasy readers will be familiar with such a setting and it allows the storyteller to cut straight to the storytelling. Yet, inherently, this is not fantasy.

These stories are still speculative fiction, but they are no longer true fantasy. I would call them speculative fiction with fantasy elements, but I certainly wouldn’t label them as real fantasy. Of course, the term fantasy can be used to refer to these works of speculative fiction, but it is an insult to the real works of fantasy that take the time to explore a completely new and unpredictable world (e.g. Discworld).

Some of these faux-fantasy universes include roleplaying games, both on the table and in games like Minecraft, and amateur “fantasy” stories. Obviously, world creation is hard and it is time consuming to think up convincing worlds that have interesting aspects.

Ultimately, this was the downfall of my Minecraft roleplaying server. The setting was not engaging, and players had difficulty getting immersed in the lore. But why is a “fantasy” setting necessary in the first place? People seem to associate roleplay with fantasy, probably because of the prevalence of roleplaying fantasy games. In addition, both RP and fantasy aim to satisfy the same itch: they are methods for an escape from reality.

But at the end of the day, you can have a fantasy Minecraft server without roleplaying, and you sure as hell don’t need a fantasy setting to have a roleplaying server. When I founded my Minecraft server, I wanted to see how much of a functional economy would emerge if I only set in place the loosest guidelines and money functionalities. Predictably, people found little need for money, since resources are, necessarily, abundant within (almost) any Minecraft world.

I am still interested in seeing how a Minecraftian universe can be reduced to a level where economic transactions become more feasible than collecting the resources yourself. On some level, this requires restraint from the players. However, people will not restrain themselves if it restricts their fun. So the parameters for my new server are slowly taking shape.

For one, people need an incentive to play, beyond just entertainment. There are a lot of competing venues of entertainment overall, and Minecraft is a particularly niche form of entertainment. But even within the realm of Minecraft, the pool of available servers is huge. And without a critical mass of players, a server cannot succeed. So, logically, the server needs to market itself in a way that pulls enough people in while still maintaining all the other parameters.

The server will be limited edition; it will only run for 50 days (7 weeks). This means that the story has a beginning and an end, and players are driven to accomplish a tangible goal within a time frame provided by an external force.

The setting of the server will be colonial. A group of colonists must set up a lucrative colony on a newly discovered land. The trading company that is sponsoring the colony will only fund it for ten years, during which it must start making money and pay back the initial investment. This means that players must collaborate both to survive and to generate revenue.

When the server first begins, players start on the ship that brought them to the uncharted land. It has a supply of food and tools. However, players will become hungry at a much faster rate than in the regular game. Any action, from crafting to using a tool to placing a block, will significantly reduce a player’s food bar. This will result in either a high death rate (because players will not be able to sustain their health and die from trivial falls, etc.) or a high food consumption rate.

Since the colony needs a much greater amount of food, a significant amount of energy needs to go into gathering supplies, which means that until farming and breeding infrastructure is established, not much effort will be put towards gathering valuables. Food scarcity will be boosted on the server, by making crops grow slower and increasing the cooldown time for animal breeding. Food is important because characters get only one life, raising the stakes considerably. Also, once a player dies he must wait until the next ship arrives from the motherland. These arrive once every six months ingame, which translates to roughly every 2.5 days real time. However, shipment arrivals are important for other reasons as well.

The colony can purchase things from its sponsor company. Of course, the prices are higher than reasonable. Some of the things the colony can trade away include gold, redstone, diamonds, magical items, sugar, and melon. In exchange for such raw materials, the colony is allotted some number of “trading points” with which it can buy guns (maybe), food, and other normal things like pistons, dispensers, lumber, stone, iron, saddles, etc. The exact trade ratios will be determined at a later time. They may also be adjusted as the game progresses.

Right now I think the difficulty will be set to peaceful, both because monsters would detract from the experience IMO, and because it means that the use of gunpowder, bonemeal, string, and slimeballs can be restricted.

To add back in some of the conflict lost from monsters, I hope to have two factions in the world. An existing faction, the natives, will already have infrastructure when the settlers arrive. The natives have farms, granaries, domesticated pets, mines, and supplies of string and bones. However, the natives don’t have guns (if they are put in) and can’t use any sort of redstone. To balance this, natives will be able to use magic freely, while settlers cannot. This means both sides have items from the regular game that the other side cannot access. Having such a dichotomy opens the door to different kinds of diplomatic relationships, depending on what the players decide to do ingame. I have no idea whether raids or trades will be more popular.

Unfortunately, I am also wary about creating two factions in the first place. Disparate groups on a server cause two problems. They isolate players from one another, essentially requiring double the players for two-faction play to feel the same as single-faction play. Groups also cause more frequent arguments, since communication is severely throttled.

I hope that with the right amount of advertising, I can attract around 6 people to start. They will all be colonists; only after the number rises to 12 can a native town be “discovered”. I am hesitant to go ahead with guns, because that would require a modded client to play, which significantly reduces the pool of available players. The server should be as accessible as possible. That being said, there is a lot of riffraff that, frankly, I didn’t keep out on the last server. Players NEED to be able to write full, coherent sentences both quickly and consistently. Even one person who cannot communicate well can ruin the experience for everyone.

If I ever get around to fixing connectivity issues and finishing the website, I am definitely going to go ahead with this server.

Programming Paradigms

Computer science is a relatively young field, and it has rapidly evolved ever since its inception. This becomes increasingly evident when you look at computer science being taught versus computer science being used. This is extremely apparent in the misnomer: computer science. CS is more technical art than science.

For a long time, computers had finite computational resources and memory. Today, our average consumer-grade computer is comparable to a super computer from 1985. Thusly, the twenty first century requires programming paradigms far different from those taught in the twentieth century. It no longer pays off to optimize the number of calculations or amount of memory your program uses, unless you are specifically performing mathematically intensive operations. This blog voices that sentiment much better than I can.

So programming now is about implementing an idea. Its easy to rise above the technical nitty gritty details and focus on the concept at hand. Then programming becomes a form of poetry, in which you express your ideas in a structured and rhythmic way. Programming, at a consumer level, is no longer about getting a machine to do what you want; its about empowering people.

Just like a poet spends many hours revising their verses and getting the words to say exactly what is meant, a programmer spends hours rearranging and improving code to fulfill their idea effectively. And like poetry, there are many genres and styles of programming. Unfortunately, programming is also like poetry in the way that many students get turned off to it by the experiences they have with it in school.

Programming should be taught with the main objective in mind: we are here to accomplish a mission. Writing mechanics are practiced and improved, but without an idea behind a poem or story, it is pointless. Algorithms are important, and so is project design and planning. But these are merely implements with which to express the programmer’s idea.

This is why the most successful software is easy to use, is powerful, or grants people an ability they didn’t have before. When you use a program, it doesn’t matter whether all the variables are global, whether the project was built top-down or bottom-up. The functional differences of some of the most disputed methods are miniscule. Optimization is a trivial concern when compared with the user interface. Is the parse speed of one file format more important than the support of a larger number of formats?

Kids want to be programmers because of coding heroes like Notch, the creator of Minecraft. But Minecraft isn’t well-designed. In fact, the program is a piece of crap that can barely run on a laptop from 5 years ago despite its simplicity. But the idea is gold, and that is what people notice. This is why Minecraft and Bioshock, and not COD, inspire people to be game developers.

However, functional programming is the CS taught in schools. Schools need to teach the art of computer science, not only the science. Imagine if writing was only taught, even up through college, in the scope of writing paragraphs. Essays and papers would just be a string of non sequiturs (kind of like this blog). Fiction would have no comprehensible story, only a series of finely crafted paragraphs. Only those who figured out the basic structures of plot, perhaps by reading books by others who had done the same, would learn to write meaningful stories.

In the future, everyone will be a programmer to some degree. At some point data will become so complex that to even manipulate information people will need to be able to interface with data processors through some sort of technical language in order to describe what they want. To survive in a digital world you either need software to help you interface with it, or learn the language of the realm.

Yet children are being driven off in droves because computers are being approached in education from completely the wrong angle. Computers are tool we use to accomplish tasks; the use of computers should not be taught just because “people need to be able to use computers in order to survive in the modern world”, but because children will be able to implement their ideas and carry out tasks much easier if they do have an expanded skillset on the computer. Computer skills should be taught in the form of “how would you go about doing X? Ok, what if I told you there was a much easier way?”

Snow Crash

Oh. Yes. I am going to start off this post by talking about the absolutely brilliant book by Neal Stephenson (see Cryptonomicon), Snow Crash. The book that popularized the use of the word “avatar” as it applies to the Web and gaming. The book that inspired Google Earth. And despite being 20 years old, it is more relevant than ever and uses the cyberpunk theme to hilarious and thought-provoking extents. It paints the picture of an Internet/MMO mashup, sort of like Second Life, based in a franchised world. Governments have split up and been replaced in function by companies; competing highway companies set up snipers where their road systems cross, military companies bid for retired aircraft carriers, and inflation has caused trillion dollar bills to become nigh worthless.

In the book, a katana-wielding freelance hacker named Hiro Protagonist follows a trail of mysterious clues and eventually discovers a plot to infect people with an ancient Sumerian linguistic virus. The entire book is bizarre, but it has some great concepts and is absolutely entertaining. Stephenson never fails to tell a great story; his only problem is wrapping them up. Anyways, I highly suggest you read it.

Well, I’ve been thinking about games again. I have two great ideas in the works, and one of them is “hacking” game based roughly in the Snow Crash universe. It doesn’t really use any of the unique concepts from it besides the general post-fall world setting and things like the Central Intelligence Corporation. It probably won’t even use the Metaverse, although it depends how much I choose to expand the game from the core concept. The player does play, however, as a freelance hacker who may or may not wield swords (not that it matters, since you probably won’t be doing any running around).

I’m writing up a Project Design Document which will cover all the important points of the game:
Download the whole document

The World in 15 Years

It’s been a while since I’ve just written something for fun without justifying myself, so I decided to make a post where I just make shit up. Basically, I’ve been thinking about something I heard a while back, which went along the lines of: science fiction is about personalizing issues in the present day and bringing abstract problems to a level in which the characters deal with it directly. While I disagree with the statement to some extent, I also agree with it the more I think about it. Fallen Angels makes climate change a very tangible force that the characters have to deal with, for instance. Power Nap (a webcomic) expands the sense that corporations take advantage of their employees for productivity beyond reasonable limits, and personalizes it for the protagonist.

So, I momentarily abandoned my plans for writing a space opera. Most of all, I just wasn’t ready for a writing project of that magnitude. But more importantly, it didn’t MEAN anything to me. I wanted to write a story that took some problem or idea that affected me and make it very real and tangible. With the latest set of vicious storms in my area knocking out power for days, even disabling emergency services and perhaps water utilities for a time, I began thinking about how reliant our global society is on electronics and the electricity to power them. This coupled with the thoughts that had been stewing about in my head ever since I casually skimmed a National Geographic article. The article was not that interesting, but the subject matter was one that hadn’t really occurred to me before: a freak solar flare, like one that happened in 1859, could essentially fry the entire power grid and all of our electronics. This, to me, proposes a much more interesting and up-to-date apocalyptic scenario than the standard nuclear armageddon.

That got me thinking about the near future, and so I’ve compiled a list of some things I think will be likely to occur in the next 15 years. I tried to not be too optimistic. Yes, I know that some of it is inconsistent, and some of it is much more detailed than other parts.

-China becoming more democratic, but increases censorship nonetheless
-Huge number of economically successful high-tech countries in East and Southeast Asia
-Pacific Rim emerges as haven for free data sharing, as well as Eastern Europe

-Poor countries still poor
-Communication technologies become even more widespread
-Corrupt governments overthrown in continuous cycles of bloody revolution
-Raw material supply becomes unreliable
-Poor corrupt countries may fall into anarchy

-Rest of world becoming more socialist in terms of government handling of resources
-USA increasingly resistant to government regulation of resources and thus begins to lag in large societal changes and technological adoption
-More and more unrest as the US government fails to agilely address new problems
-Increased attempts by media-industry-controlled government factions to eradicate un-supervised data sharing on Internet
-USA oversteps some boundaries trying to persecute free data sharing companies in Asia, world becomes weary of US intellectual property pushes

-Everything goes to shit in Greece with communist election, pulls out of EU
-Spain pulls out of EU because of financial collapse
-Germany pulls out of EU in anticipation of EU and Euro collapse
-Euro goes to hell
-European economy collapses, lots of companies migrate their finances to US or Asia in anticipation
-Several brief civil wars break out in countries hit hard, tourism in Europe goes to shit, causes more economic decay

-DARPA project kicks off space recycling
-Retired space stations are cannibalized
-Expanded commercial industry, competition with SpaceX
-Asteroid mining just starting, expected influx of resources (Earth mining becomes ridiculously expensive as resources are depleted)
-Plans for mars still just plans (commercial and governmental)
-Commercial space station with sponsors (Red Bull module?)

-More advances in mobile technology
-Competition in information glasses (see Google Glass)
-Increased presence of laplets (netbook / tablet hybrid, see Microsoft Surface)
-Increases in high-speed Internet availability
-Cloud gaming (processing on external machines, screen streamed)
-Some cities are implementing ubiquitous wifi
-Self-driving cars prevalent
-Resource sharing via private companies becomes more accepted

-Cures for blindness, etc
-Advances in prosthetics, mind-controlled apparatus
-More use of robotics, especially in operations
-Cancer research still unable to cure cancer
-Pushback against genetic engineering to solve rampant problems (e.g. anti-sepsis bacteria, clotting-inducers, artificial immune boosters, disease-vector re-engineering)
-Technological advances in molecular synthesis jeopardizes pharmaceutical industry

-Niche markets of supersonic flights and new efficient airships are filled
-Ocean drilling for oil becomes extremely common, Gulf spill stigma overcome
-Oil synthesization expanding as a market, more viable as oil is used up and Middle Eastern oil is unavailable
-Price of flights start to increase, flying starts to become less popular

-Increased reliance on new breed of safe fission power
-Global warming still “on the rise”, even though it has been partially linked to various natural processes
-Carbon emissions significantly reduced in Europe and America, increased in Asia
-Attempts to limit number of chemical rockets used, rejection
-Anti-desertification movement gains momentum, Saharan reduction initiated
-Still huge pushes towards recycling

I might update this post with some short descriptions of why I make some of these predictions, but until then you should leave a comment agreeing or disagreeing. Also follow me on Twitter @mattlevonian if you like my blog.

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