“The Long Tomorrow”: Discover Mœbius’ Hard-Boiled Detective Comic That Inspired Blade Runner (1975)

in Art, Comics/Cartoons, Sci Fi | September 4th, 2018

Alejandro Jodorowsky may never have made his film adaptation of Frank Herbert’s Dune, but plenty came out of the attempt — including, one might well argue, Blade Runner. Making that still hugely influential adaptation of Philip K. Dick’s Do Androids Dream of Electric Sheep?, Ridley Scott and his collaborators looked to a few key visual sources, one of them a two-part short story in comic form called “The Long Tomorrow.”

Illustrated by none other than French artist Mœbius, one of the richest visual imaginations of our time, it tells the futuristic hard-boiled story of a private detective in a dense, vertical underground city filled with androids, rowdy bars, assassins, and flying cars. “I’m a confidential nose,” says the protagonist by way of introduction. “My office is on the 97th level. Club’s the name, Pete Club.”

Then comes the fateful piece of narration that begins any detective story worth its salt: “It started out a day like any other day.” But by the end of that day, Club has taken a job from a classic dame in need, fended off both a four-armed thug and a hired assassin, slain an alien monster with whom he finds himself in bed, and recovered the president’s missing brain.

The story was written written by Dan O’Bannon, then known mainly for the film Dark Star, a science-fiction comedy he’d made with his University of Southern California classmate John Carpenter. On the strength of that, Jodorowsky had brought him onto Dune to work on its special effects, just as he’d brought Mœbius on to create its storyboards and concept art. With nothing to do before shooting began — which it never did — O’Bannon first drew “The Long Tomorrow” himself as a way of keeping busy. Mœbius took one look at it and immediately saw its promise.

The French may have coined the term film noir, but this early work of future noir benefited from having an American writer. “When Europeans try this kind of parody, it is never entirely satisfactory,” Mœbius writes in the introduction to the book version of “The Long Tomorrow.” “The French are too French, the Italians are too Italian … so, under my nose was a pastiche that was more original than the originals.” It also, with Mœbius’ art, laid the visual groundwork for generations of sci-fi stories to come.

“The way Neuromancer-the-novel ‘looks’ was influenced in large part by some of the artwork I saw in Heavy Metal,” said William Gibson, referring to the English version of Métal hurlant, the magazine that popularized Mœbius’ work. (O’Bannon also worked on the animated Heavy Metal anthology film, released in 1981.) But perhaps Ridley Scott, who started working with the artist on 1979’s O’Bannon-scripted Alien, described the influence of Mœbius’ art on our visions of the future best: “You see it everywhere, it runs through so much you can’t get away from it.” In a cultural sense, all of us live in Pete Club’s city now.

via Dangerous Minds

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Moebius’ Storyboards & Concept Art for Jodorowsky’s Dune

In Search of Mœbius: A Documentary Introduction to the Inscrutable Imagination of the Late Comic Artist Mœbius

The Blade Runner Sketchbook Features The Original Art of Syd Mead & Ridley Scott (1982)

The 14-Hour Epic Film, Dune, That Alejandro Jodorowsky, Pink Floyd, Salvador Dalí, Moebius, Orson Welles & Mick Jagger Never Made

Based in Seoul, Colin Marshall writes and broadcasts on cities and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Faceboo k.

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The Encyclopedia of Science Fiction: 17,500 Entries on All Things Sci-Fi Are Now Free Online

in Sci Fi | August 28th, 2018

What turns people into science-fiction fans? Many enter through the gateway of Star Trek, an early 1960s television series “set on the worlds visited by a giant Spaceship, the U.S.S. Enterprise, and on the ship itself. Its crew is on a mission to explore new worlds and ‘to boldly go where no man has gone before.’ ” Though “not particularly successful in the ratings,” Star Trek nevertheless “attracted a hard core of devoted fans, ‘Trekkies,’ who made up in passionate enthusiasm what they lacked in numbers.” Perhaps creator Gene Roddenberry’s signature “blend of the mildly fantastic with the reassuringly familiar, and his use of an on the whole very likeable cast, attracted viewers precisely because its exoticism was manageable and unthreatening.”

Those quotes come from The Encyclopedia of Science Fiction, a free online resource featuring more than 17,500 entries explaining all things sci-fi, whether new or old, mainstream or obscure. Some of its pages deal with works of doubted status as science fiction at all: Star Wars, for example, “an entertaining pastiche that draws upon comic strips, old movie serials, Westerns, James Bond stories, The Wizard of Oz, Snow White, Errol Flynn swashbucklers and movies about World War Two” whose “gratifyingly spectacular – at the time – special effects and martial music hypnotized the audience into uncritical acceptance of the basically absurd, deliberately Pulp-magazine-style conflict between Good and Evil.”

That sort of thing is a long way indeed from the work of, say, a science-fiction grandmaster like Isaac Asimov, who wrote prolifically in “the clear unerring voice of a man speaking reason, uttering tales about how to solve the true world.” Some readers of Open Culture might well have found their way into science fiction through Ridley Scott’s Blade Runner, which despite its “many narrative flaws” remains “one of the most important sf movies made,” having showed “almost for the first time – though fans had spent years hoping – how visually sophisticated sf in film form can be.”

Blade Runner’s entry includes, of course, a reference to the script’s basis on Do Androids Dream of Electric Sheep? by Philip K. Dick, “a figure who helps define by contrast those identified in this Encyclopedia as Mainstream Writers of SF: writers, that is, whose comprehension of the significant literatures of the last century has sometimes seemed less than full. An author like Thomas Pynchon, who is not described in this encyclopedia as mainstream, will understand what he owes Dick; a mainstream author like Margaret Atwood has worked to make it clear that she does not.”

Stanley Kubrick’s 2001: A Space Odyssey, “the most ambitious sf film of the 1960s and perhaps ever,” has also done its part to propagate a sci-fi way of looking at the world, exploring as it does “the idea of human deficiency in the twenty-first century.” Kubrick developed it in collaboration with novelist Arthur C. Clarke, another of the genre’s titans, indeed “the very personification of sf. Never a ‘literary’ author, he nonetheless always wrote with lucidity and candour, often with grace, sometimes with a cold, sharp evocativeness that produced some of the most memorable images in sf.”

Other entries tell of writers not so closely associated with traditional science fiction but highly regarded and enduringly influential in the wider world of speculative literature: Jorge Luis Borges, for instance, with his “ ‘sense of ecstatic enclosedness in the Word Incarnate’ that may be uniquely intense in world literature,” or J.G. Ballard, “revered (and detested) for the corrosively inescapable vision of the late twentieth-century world, which his stories seemed not so much to reflect in a distorting mirror as (alarmingly) to reflect, for the first time, without defensive evasions.”

“Originally published in physical form in 1979,” writes Lithub’s MH Rowe, “the Encyclopedia of Science Fiction won a Hugo award for best nonfiction book in 1980. A second edition followed in 1993, with a CD-ROM supplement a few years later. The encyclopedia won another Hugo in 1994, and a decade later began its migration online, where it launched in 2011 as a precursor to its current digital form” — albeit a far cry from a crowdsourced, objectivity-oriented resource like Wikipedia. “Making no effort to avoid the partisanship that’s a hallmark of being a fan, the SFE possesses the kind of purity you can only get from corrupt endeavors. It’s by turns cranky, self-doubting, and ultra-confident, but it couldn’t be more deeply engaged with the genre of science fiction.” And if anything characterizes science-fiction fandom more than deep engagement, even the genre’s most powerful imaginations haven’t dreamed of it.

via Lithub

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Based in Seoul, Colin Marshall writes and broadcasts on cities and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Faceboo k.

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An Asbestos-Bound, Fireproof Edition of Ray Bradbury’s Fahrenheit 451 (1953)

in Books, Literature, Sci Fi | July 31st, 2018

Even by the extreme standards of dystopian fiction, the premise of Ray Bradbury’s Fahrenheit 451 can seem a little absurd. Firemen whose job is to set fires? A society that bans all books? Written less than a decade after the fall of the Third Reich, which announced its evil intentions with book burnings, the novel explicitly evokes the kind of totalitarianism that seeks to destroy culture—and whole peoples—with fire. But not even the Nazis banned all books. Not a few academics and writers survived or thrived in Nazi Germany by hewing to the ideological orthodoxy (or at least not challenging it), which, for all its terrifying irrationalism, kept up some semblance of an intellectual veneer.

The novel also recalls the Soviet variety of state repression. But the Party apparatus also allowed a publishing industry to operate, under its strict constraints. Nonetheless, Soviet censorship is legendary, as is the survival of banned literature through self-publishing and memorization, vividly represented by the famous line in Mikhail Bulgokov’s The Master and Margarita, “Manuscripts don’t burn.”

Bulgakov, writes Nathaniel Rich at Guernica, is saying that “great literature… is fireproof. It survives its critics, its censors, and even the passage of time.” Bulgakov wrote from painful experience. When his diary was discovered by the NKVD in 1929, then returned to him, he “promptly burned it.” Sometime afterward, during the long composition of his posthumously published novel, he burned the manuscript, then later reconstructed it from memory.

These examples bring to mind the exiled intellectuals in Bradbury’s novel, who have memorized whole books in order to one day reconstruct literary culture. Europe’s totalitarian regimes provide essential background for the novel’s plot and imagery, but its key context, Bradbury himself noted in a 1956 radio interview, was the anti-Communist paranoia of the U.S. in the early 1950s. “Too many people were afraid of their shadows,” he said, “there was a threat of book burning. Many of the books were being taken off the shelves at that time.” Reading the novel as a chilling vision of a future when all books are banned and burned makes the artifact pictured above particularly poignant—an edition of Fahrenheit 451 bound in fireproof asbestos.

Released in 1953 by Ballantine in a limited run of two-hundred signed copies, the books were “bound in Johns-Manville Qinterra,” notes Lauren Davis at io9, “a chrysolite asbestos material.” Now the fireproof covers, with their “exceptional resistance to pyrolysis,” are “much sought after by collectors” and go for upwards of $20,000. A fireproof Fahrenheit 451, on the one hand, can seem a little gimmicky (its pages still burn, after all). But it’s also the perfect manifestation of a literal interpretation of the novel as a story about banning and book burning. All of us who have read the novel have likely read it this way, as a vision of a repressive totalitarian nightmare. As such, it feels like a product of mid-twentieth century fears.

Rather than fearing mass book burnings, we seem, in the 21st century, on the verge of being washed away in a sea of information (and dis- and mis-information). We are inundated with writing—in print and online—such that some of us despair of ever finding time to read the accumulating piles of books and articles that daily surround us, physically and virtually. But although books are still published in the millions, with sales rising, falling, then rising again, the number of people who actually read seems in danger of rapidly diminishing. And this, Bradbury also said, was his real fear. “You don’t have to burn books to destroy a culture,” he claimed, “just get people to stop reading them.”

We’ve misread Fahrenheit 451, Bradbury told us in his later years. It is an allegory, a symbolic representation of a grossly dumbed-down society, hugely oppressive and destructive in its own way. The firemen are not literal government agents but symbolic of the forces of mass distraction, which disseminate “factoids,” lies, and half-truths as substitutes for knowledge. The novel, he said, is actually about people “being turned into morons by TV.” Add to this the proliferating amusements of the online world, video games, etc. and we can see Bradbury’s Fahrenheit 451 not as a dated representation of 40s fascism or 50s repression, but as a too-relevant warning to a distractible society that devalues and destroys education and factual knowledge even as we have more access than ever to literature of every kind.

Ray Bradbury Explains Why Literature is the Safety Valve of Civilization (in Which Case We Need More Literature!)

Helen Keller Writes a Letter to Nazi Students Before They Burn Her Book: “History Has Taught You Nothing If You Think You Can Kill Ideas” (1933)

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

by Josh Jones | Permalink | Make a Comment ( 1 ) |

Stanley Kubrick Explains the Mysterious Ending of 2001: A Space Odyssey in a Newly Unearthed Interview

in Film, Sci Fi | July 9th, 2018

During the making of Stanley Kubrick’s 2001: A Space Odyssey, “the film’s narrative trajectory pointed inexorably toward a big ending, even a revelation, but Kubrick kept changing his mind about what that ending would be — and nobody who saw the film knew quite what to make of the one he finally chose.” Those words come from a piece by The New Yorker’s Dan Chiasson, published to mark the fiftieth anniversary of the film’s release. Since then, generations of viewers have interpreted 2001, and especially its ending, in their own way. But these debates over meaning may all change now that Kubrick’s own interpretation seems to have surfaced.

Not only that, it turns out to differ markedly from most of the ones in circulation. “I’ve tried to avoid doing this ever since the picture came out,” Kubrick tells journalist Junichi Yaoi when the latter asks what 2001’s ending means.

“When you just say the ideas they sound foolish, whereas if they’re dramatized one feels it, but I’ll try.” He then reveals his view of the concept behind it:

The idea was supposed to be that he is taken in by god-like entities, creatures of pure energy and intelligence with no shape or form. They put him in what I suppose you could describe as a human zoo to study him, and his whole life passes from that point on in that room. And he has no sense of time. It just seems to happen as it does in the film.

They choose this room, which is a very inaccurate replica of French architecture (deliberately so, inaccurate) because one was suggesting that they had some idea of something that he might think was pretty, but wasn’t quite sure. Just as we’re not quite sure what do in zoos with animals to try to give them what they think is their natural environment.

Anyway, when they get finished with him, as happens in so many myths of all cultures in the world, he is transformed into some kind of super being and sent back to Earth, transformed and made some kind of superman. We have to only guess what happens when he goes back. It is the pattern of a great deal of mythology, and that is what we were trying to suggest.

This makes sense, or at least as much sense as any of the better interpretations of 2001’s ending out there. Drawing explicitly on ancient mythology has become standard practice for big-budget spectacles, especially after Star Wars did it to much greater commercial success almost a decade later, but in development the idea must have seemed radical. Some will take Kubrick’s explanation as definitive, and others, subscribing to a different philosophy of artistic creation, will show no more interest in it than they do in Ridley Scott’s personal views on whether Deckard is a replicant.

The mysterious nature of the interview clip itself, a piece of the footage gathered in 1980 for a never-released Japanese documentary, suits the nature of the revelation. We see only Yaoi as he interviews Kubrick over the phone, but not, according to Pixar director and Kubrick superfan Lee Unkrich, because the director wasn’t there. Unkrich posted to Reddit that, as the Warner Brothers publicist who toured the Japanese crew around told him, “Stanley was actually at the studio that day, but didn’t want to meet with the crew and be interviewed on camera.” So even though we hear his voice on the phone, “he’s actually just in another office!”

But then, nobody ever accused Kubrick of possessing conventional habits, personal or professional. Not that a conventional mind could ever have directed the film that 2001: A Space Odyssey turned out to be, one that, in Chiasson’s words, “took for granted a broad cultural tolerance, if not an appetite, for enigma, as well as the time and inclination for parsing interpretive mysteries.” Kubrick might have completed the film with his own ideas about the meaning of everything in it, but he surely knew, and respected, that everyone who saw it would also come out of the theater with their own.

via Metafilter

Watch the Opening of Kubrick’s 2001: A Space Odyssey with the Original, Unused Score

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Based in Seoul, Colin Marshall writes and broadcasts on cities and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Faceboo k.

by Colin Marshall | Permalink | Make a Comment ( 4 ) |

Watch the Winners of the 48 Hour Science Fiction Film Challenge: The 2018 Edition

in Film, Sci Fi | June 4th, 2018

Writes Metafilter: “Every year, as part of their science fiction film festival, Sci-Fi London organise a challenge in which entrants are given a title, line of dialogue and description of a prop, and then have 48 hours to turn in a completed 5 minute film or piece of flash fiction. The winning films and flash fiction stories from the SciFi London 48 Hour Challenge are now available to watch and read.” The first place film winner you can view above. Find other winning entries via the links below:

THE FILM CHALLENGE:

1st Place: Under Duress by team Retrograde
2nd Place: On My Watch by team Badger Way
3rd Place: Details to Follow by team Hyvemind

THE FLASH FICTION CHALLENGE:

1st Place: Survival Mechanism by Natalie Dixon
2nd Place: All My Blood by Simon Bennett
3rd Place: The Charm by Bethan James

Enjoy.

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Watch the New Trailer for Worlds of Ursula K Le Guin, the First Feature Film on the Pioneering Sci-Fi Author

in Film, Sci Fi | June 1st, 2018

On June 10th, at the Sheffield Doc/Fest in England, director Arwen Curry will premiere Worlds of Ursula K Le Guin, the first feature film about the groundbreaking science fiction writer. The film’s website notes that “Curry filmed with Le Guin for 10 years to produce the film, which unfolds an intimate journey of self-discovery as Le Guin comes into her own as a major feminist author, opening new doors for the imagination and inspiring generations of women and other marginalized writers along the way.” Starring Le Guin herself, who sadly passed away earlier this year, Worlds of Ursula K Le Guin features appearances by Margaret Atwood, David Mitchell, Neil Gaiman, Samuel R. Delany, and Michael Chabon. You can watch the brand new trailer for the film above.

If you would like to support the mission of Open Culture, consider making a donation to our site. It’s hard to rely 100% on ads, and your contributions will help us continue providing the best free cultural and educational materials to learners everywhere. You can contribute through PayPal, Patreon, and Venmo (@openculture). Thanks!

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The Art of Sci-Fi Book Covers: From the Fantastical 1920s to the Psychedelic 1960s & Beyond

in Art, Books, Sci Fi | May 21st, 2018

If you’ve never seen Gentlemen Broncos, the little-seen third feature by the Napoleon Dynamite-making husband-and-wife team Jared and Jerusha Hess, I highly recommend it. You must, though, enjoy the peculiar Hess sense of humor, a blend of the almost objectively detached and the heartily sophomoric fixed upon the preoccupations of deeply unfashionable sections of working-class America. In Gentlemen Broncos it makes itself felt immediately, even before the film’s story of a young aspiring science fiction writer in small-town Utah begins, with a tour de force opening credits sequence made up of homages to the pulpiest sci-fi book covers of, if not recent decades, then at least semi-recent decades.

The style of these cover images, though risible, no doubt look rich with associations to anyone who’s spent even small part of their lives reading mass-market sci-fi novels. To see more than a few higher examples, watch “The Art of Sci-Fi Book Covers,” the Nerdwriter video essay above that digs into the history of that enormously inventive yet seldom seriously considered artistic subfield.

Its begins with the world’s first science-fiction magazine Amazing Stories (an online archive of which we’ve previously featured here on Open Culture) and its pieces of fantastical, eye-catching cover art by Austria-Hungary-born illustrator Frank R. Paul. In the mid-1920s, says the Nerdwriter, “these covers were probably among the strangest art that the average American ever got to see.”

It would get stranger. The Nerdwriter follows the development of sci-fi cover art from the heyday of the Paul-illustrated Amazing Stories to the introduction of mass-market paperback books in the late 1930s to Penguin’s experimentation with existing works of modern art in the 1960s to the commissioning of new, even more bizarre and evocative works by all manner of publishers (some of them sci-fi specialists) thereafter. “You can walk into any used book store anywhere and get five of these old pulp books for a dollar each,” the Nerdwriter reminds us. “And then the art is with you; it’s in your home. As you read the stories, it’s on your bedside table. It’s art you hold with your hands. It’s not precious: it’s bent, folded, and creased. And above all, it’s weird.”

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Based in Seoul, Colin Marshall writes and broadcasts on cities and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Faceboo k.

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Stream 47 Hours of Classic Sci-Fi Novels & Stories: Asimov, Wells, Orwell, Verne, Lovecraft & More

in Audio Books, Sci Fi | April 10th, 2018

The pronouncements of French theorist Jean Baudrillard could sound a bit silly in the early 1990s, when the internet was still in its infancy, a slow, clunky technology whose promises far exceeded what it could deliver. We hoped for the cyberpunk spaces of William Gibson, and got the beep-boop tedium of dial-up. Even so, in his 1991 essay “Simulacra and Science Fiction,” Baudrillard contended that the real and the imaginary were no longer distinguishable, and that the collapse of the distance between them meant that “there is no more fiction.” Or, conversely, he suggested, that there is no more reality.

What seemed a far-fetched claim about the totality of “cybernetics and hyperreality” in the age of AOL and Netscape now sounds far more plausible. After all, it will soon be possible, if it is not so already, to convincingly simulate events that never occurred, and to make millions of people believe they had, not only through fake tweets, “fake news,” and age-old propaganda, but through sophisticated manipulation of video and audio, through augmented reality and the onset of “reality apathy,” a psychological fatigue that overwhelms our abilities to distinguish true and false when everything appears as a cartoonish parody of itself.

Technologist Aviv Ovadya has tried since 2016 to warn anyone who would listen that such a collapse of reality was fast upon us—an “Infocalypse,” he calls it. If this is so, according to Baudrillard, “both traditional SF and theory are destined to the same fate: flux and imprecision are putting an end to them as specific genres.” In an apocalyptic prediction, he declaimed, “fiction will never again be a mirror held to the future, but rather a desperate rehallucinating of the past.” The “collective marketplace” of globalization and the Borgesian condition in which “the map covers all the territory” have left “no room any more for the imaginary.” Companies set up shop expressly to simulate and falsify reality. Pained irony, pastiche, and cheap nostalgia are all that remain.

It’s a bleak scenario, but perhaps he was right after all, though it may not yet be time to despair—to give up on reality or the role of imagination. After all, sci-fi writers like Gibson, Philip K. Dick, and J.G. Ballard grasped long before most of us the condition Baudrillard described. The subject proved for them and many other late-20th century sci-fi authors a rich vein for fiction. And perhaps, rather than a great disruption—to use the language of a start-up culture intent on breaking things—there remains some continuity with the naïve confidence of past paradigms, just as Newtonian physics still holds true, only in a far more limited way than once believed.

Isaac Asimov’s short essay “The Relativity of Wrong” is instructive on this last point. Maybe the theory of “hyperreality” is right, in some fashion, but also incomplete: a future remains for the most visionary creative minds to discover, as it did for Asimov’s “psychohistorian” Hari Seldon in The Foundation Trilogy. You can hear a BBC dramatization of that groundbreaking fifties masterwork in the 47-hour science fiction playlist above, along with readings of classic stories—like Orson Welles’ infamous radio broadcast of H.G. Wells’ War of the Worlds (and an audiobook of the same read by English actor Maxwell Caulfield). From Jules Verne to H.P. Lovecraft to George Orwell; from the mid-fifties time travel fiction of Andre Norton to the 21st-century time-travel fiction of Ruth Boswell….

We’ve even got a late entry from theatrical prog rock mastermind Rick Wakeman, who followed up his musical adaptation of Journey to the Centre of the Earth with a sequel he penned himself, recorded in 1974, and released in 1999, called Return to the Centre of the Earth, with narration by Patrick Stewart and guest appearances by Ozzy Osbourne, Bonnie Tyler, and the Moody Blues’ Justin Hayward. Does revisiting sci-fi, “weird fiction,” and operatic concept albums of the past constitute a “desperate rehallucinating” of a bygone “lost object,” as Baudrillard believed? Or does it provide the raw material for today’s psychohistorians? I suppose it remains to be seen; the future—and the future of science fiction—may be wide open.

The 47-hour science fiction playlist above will be added to our collection of 900 Free Audio Books.

Sci-Fi Radio: Hear Radio Dramas of Sci-Fi Stories by Ray Bradbury, Philip K. Dick, Ursula K. LeGuin & More (1989)

Free: 355 Issues of Galaxy, the Groundbreaking 1950s Science Fiction Magazine

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

by Josh Jones | Permalink | Make a Comment ( 2 ) |

“The Long Tomorrow”: Discover Mœbius’ Hard-Boiled Detective Comic That Inspired Blade Runner (1975)

The Encyclopedia of Science Fiction: 17,500 Entries on All Things Sci-Fi Are Now Free Online

An Asbestos-Bound, Fireproof Edition of Ray Bradbury’s Fahrenheit 451 (1953)

Stanley Kubrick Explains the Mysterious Ending of 2001: A Space Odyssey in a Newly Unearthed Interview

Watch the Winners of the 48 Hour Science Fiction Film Challenge: The 2018 Edition

Watch the New Trailer for Worlds of Ursula K Le Guin, the First Feature Film on the Pioneering Sci-Fi Author

The Art of Sci-Fi Book Covers: From the Fantastical 1920s to the Psychedelic 1960s & Beyond

Stream 47 Hours of Classic Sci-Fi Novels & Stories: Asimov, Wells, Orwell, Verne, Lovecraft & More

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