1.
Science Fantasy (magazine)
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Walter Gillings was editor for the first two issues, and was then replaced by John Carnell, the editor of New Worlds, as a cost-saving measure. Carnell edited both magazines until Nova went out of business in early 1964, the title was changed again to SF Impulse for the last few issues. Science Fantasy ceased publication the following year, when Roberts & Vinter came under pressure after their printer went bankrupt. Fantasy stories began to more frequently during the latter half of the 1950s. Under Bonfiglioli more new writers appeared, including Keith Roberts, Brian Stableford, in early 1946, British fan John Carnell launched a new science fiction magazine titled New Worlds, published by Pendulum Publications. The first issue appeared in July 1946 and failed to sell well, the second issue, in October of that year, sold better, but Pendulum went out of business before the end of 1947 with only one more issue released. A group of sf fans, including Carnell and Frank Cooper, decided to restart the magazine under their own control, the fourth issue appeared in April 1949. At the same time that the first issue of New Worlds appeared, a separate British magazine called Fantasy was launched by Walter Gillings, a science fiction fan and a reporter by profession. Fantasy lasted for three issues before dying in 1947, but Gillings had accumulated a substantial inventory of stories—enough to fill nine issues. Gillings followed the demise of Fantasy by publishing a fanzine, titled Fantasy Review, in 1950, with New Worlds on a stable quarterly schedule, Nova Publications decided to launch a companion, Science Fantasy. They chose Gillings as the editor, and his fanzine, which had been retitled Science Fantasy Review in 1949, was incorporated in the new magazine as a department, the first issue was dated Summer 1950, but printing disputes meant that the second issue was delayed until winter. According to Carnell, there were fundamental differences of opinion that led to the decision to replace him. After the Spring 1953 issue Nova Publications decided to switch printers, in order to cut costs, maclarens legal department was helpful in resolving the dispute with The Carlton Press, and the seventh issue of Science Fantasy finally appeared with a cover date of March 1954. In 1958, Nova decided to launch a British reprint of the American magazine Science Fiction Adventures, the British Science Fiction Adventures lasted until May 1963, when it was felled by declining sales. S. In early 1964, David Warburton of Roberts & Vinter, a publisher, heard from the printer of Science Fantasy. Warburton gave Moorcock the choice of which magazine to edit, Moorcock chose New Worlds, Roberts & Vinter changed the format from digest to paperback, and the first issue under Bonfigliolis control was number 65, dated June–July 1964. The schedule was initially irregular, with each issue dated with two months even when two issues were only a month apart—for example, June–July 1964 was followed by July–August 1964. From March 1965 a regular schedule was begun
2.
Science fiction
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Science fiction often explores the potential consequences of scientific and other innovations, and has been called a literature of ideas. Science fiction is difficult to define, as it includes a range of subgenres and themes. Author and editor Damon Knight summed up the difficulty, saying science fiction is what we point to when we say it, a definition echoed by author Mark C. Glassy, who argues that the definition of science fiction is like the definition of pornography, you do not know what it is, in 1970 or 1971William Atheling Jr. According to science fiction writer Robert A, rod Serlings definition is fantasy is the impossible made probable. Science fiction is the improbable made possible, Science fiction is largely based on writing rationally about alternative possible worlds or futures. Science fiction elements include, A time setting in the future, in alternative timelines, a spatial setting or scenes in outer space, on other worlds, or on subterranean earth. Characters that include aliens, mutants, androids, or humanoid robots, futuristic or plausible technology such as ray guns, teleportation machines, and humanoid computers. Scientific principles that are new or that contradict accepted physical laws, for time travel, wormholes. New and different political or social systems, e. g. utopian, dystopian, post-scarcity, paranormal abilities such as mind control, telepathy, telekinesis Other universes or dimensions and travel between them. A product of the budding Age of Reason and the development of science itself. Isaac Asimov and Carl Sagan considered Keplers work the first science fiction story and it depicts a journey to the Moon and how the Earths motion is seen from there. Later, Edgar Allan Poe wrote a story about a flight to the moon, more examples appeared throughout the 19th century. Wells The War of the Worlds describes an invasion of late Victorian England by Martians using tripod fighting machines equipped with advanced weaponry and it is a seminal depiction of an alien invasion of Earth. In the late 19th century, the scientific romance was used in Britain to describe much of this fiction. This produced additional offshoots, such as the 1884 novella Flatland, the term would continue to be used into the early 20th century for writers such as Olaf Stapledon. In the early 20th century, pulp magazines helped develop a new generation of mainly American SF writers, influenced by Hugo Gernsback, the founder of Amazing Stories magazine. In 1912 Edgar Rice Burroughs published A Princess of Mars, the first of his series of Barsoom novels, situated on Mars
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Fantasy
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Fantasy is a fiction genre set in an imaginary universe, often but not always without any locations, events, or people from the real world. Most fantasy uses magic or other elements as a main plot element, theme. Magic and magical creatures are common in many of these imaginary worlds, in popular culture, the fantasy genre is predominantly of the medievalist form. In its broadest sense, however, fantasy works by many writers, artists, filmmakers. Fantasy is studied in a number of disciplines including English and other studies, cultural studies, comparative literature, history. The identifying trait of fantasy is the reliance on imagination to create narrative elements that do not have to rely on history or nature to be coherent. This differs from realistic fiction in that whereas realistic fiction has to attend to the history and natural laws of reality, an author applies his or her imagination to come up with characters, plots, and settings that are impossible in reality. Fantasy has often compared with science fiction and horror because they are the major categories of speculative fiction. Fantasy is distinguished from science fiction by the plausibility of the narrative elements, a science fiction narrative is unlikely, though seeming possible through logical scientific and/or technological extrapolation, whereas fantasy narratives do not need to be scientifically possible. The imagined elements of fantasy do not need an explanation to be narratively functional. Authors have to rely on the suspension of disbelief, an acceptance of the unbelievable or impossible for the sake of enjoyment. Despite both genres heavy reliance on the supernatural, fantasy and horror are distinguishable, horror primarily evokes fear through the protagonists weaknesses or inability to deal with the antagonists. Beginning perhaps with the earliest written documents, mythic and other elements that would come to define fantasy. MacDonald was an influence on both J. R. R. Tolkien and C. S. Lewis. The other major fantasy author of this era was William Morris, lord Dunsany established the genres popularity in both the novel and the short story form. Many popular mainstream authors also began to write fantasy at this time, including H. Rider Haggard, Rudyard Kipling and Edgar Rice Burroughs. Indeed, juvenile fantasy was considered more acceptable than fantasy intended for adults, nathaniel Hawthorne wrote fantasy in A Wonder-Book for Girls and Boys, intended for children, though works for adults only verged on fantasy. Political and social trends can affect a societys reception towards fantasy, in the early 20th century, the New Culture Movements enthusiasm for Westernization and science in China compelled them to condemn the fantastical shenmo genre of traditional Chinese literature
4.
Analog Science Fiction and Fact
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Analog Science Fiction and Fact is an American science-fiction magazine published under various titles since 1930. The first issue, titled Astounding Stories of Super-Science, was dated January 1930, published by William Clayton, Clayton went bankrupt in 1933 and the magazine was sold to Street & Smith. At the end of 1937, Campbell took over editorial duties under Tremaines supervision, the period beginning with Campbells editorship is often referred to as the Golden Age of Science Fiction. By 1950, new competition had appeared from Galaxy Science Fiction, in 1960, Campbell changed the title of the magazine to Analog Science Fiction & Fact, he had long wanted to get rid of the word Astounding in the title, which he felt was too sensational. At about the same time Street & Smith sold the magazine to Condé Nast, Campbell remained as editor until his death in 1971. Ben Bova took over from 1972 to 1978, and the character of the magazine changed noticeably, Bova won five consecutive Hugo Awards for his editing of Analog. The title was sold to Davis Publications in 1980, then to Dell Magazines in 1992, Crosstown Publications acquired Dell in 1996 and remains the publisher. Schmidt continued to edit the magazine until 2012, when he was replaced by Trevor Quachri, in 1926, Hugo Gernsback launched Amazing Stories, the first science-fiction magazine. Amazing was very successful, quickly reaching a circulation over 100,000, Clayton was unconvinced, but the following year decided to launch a new magazine, mainly because the sheet on which the color covers of his magazines were printed had a space for one more cover. He suggested to Harry Bates, a newly hired editor, that start a magazine of historical adventure stories. Bates proposed instead a science-fiction pulp, to be titled Astounding Stories of Super Science, Astounding was initially published by Publishers Fiscal Corporation, a subsidiary of Clayton Magazines. The first issue appeared in January 1930, with Bates as editor, Bates aimed for straightforward action-adventure stories, with scientific elements only present to provide minimal plausibility. In February 1931, the original name Astounding Stories of Super-Science was shortened to Astounding Stories, the magazine was profitable, but the Depression caused Clayton problems. Normally a publisher would pay a printer three months in arrears, but when a credit squeeze began in May 1931, it led to pressure to reduce this delay. The financial difficulties led Clayton to start alternating the publication of his magazines, some printers bought the magazines which were indebted to them, Clayton decided to buy his printer to prevent this from happening. As it turned out, enough stories were in inventory, and enough paper was available, to one further issue. In April, Clayton went bankrupt, and sold his titles to T. R. Foley for $100, Foley resold them in August to Street & Smith. Science fiction was not entirely a departure for Street & Smith, the first Street & Smith issue was dated October 1933, until the third issue, in December 1933, the editorial team was not named on the masthead
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Hard science fiction
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Hard science fiction is a category of science fiction characterized by an emphasis on scientific accuracy. The term was first used in print in 1957 by P. Schuyler Miller in a review of John W. Campbell, the complementary term soft science fiction, formed by analogy to hard science fiction, first appeared in the late 1970s. The term is formed by analogy to the distinction between the hard and soft sciences. The heart of the hard SF designation is the relationship of the content and attitude to the rest of the narrative. Later discoveries do not necessarily invalidate the label of hard SF, as evidenced by P. Schuyler Miller, there is a degree of flexibility in how far from real science a story can stray before it leaves the realm of hard SF. Readers of hard SF often try to find inaccuracies in stories, the same book famously featured a devastating inaccuracy, the eponymous Ringworld is not a stable orbit and would crash into the sun without active stabilization. Niven fixed these errors in his sequel The Ringworld Engineers, films set in outer space which aspire to the hard SF label try to minimize the artistic liberties taken for the sake of practicality of effect. Factors include, How the film accounts for weightlessness in space, how the film depicts sound despite the vacuum of space. Whether telecommunications are instant or are limited by the speed of light, cosmic Engineers, A Study of Hard Science Fiction. Hard Science Fiction Exclusive Interviews Kheper Realism scale Science Fiction Stories with Good Astronomy & Physics, the Ten Best Hard Science Fiction Books of all Time, selected by the editors of MITs Technology Review,2011 Low-Level Science fiction, Sci-fi with hard science and a literary slant
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