Terry Gilliam's paranoid time-travel labyrinth is less an SF film than a story of the fear of madness, but no less powerful for it
Science fiction and fantasy are like any other fictional mode: they're only as good as the presumptions brought to them.
Why I find the obsession with "prescience" in science fiction to be misguided.
Over the course of my life I've emigrated from one kind of imagination to another -- from just "making things up" to seeing what we have in front of us in a new way.
I don't particularly care if my SF is hard, soft, or mushy; I care whether or not I give a darn about who's in it and what happens.
On the presence of inarticulate, inexpressive prose -- "Engfish" -- in SF&F.
On cheating in a work of fantasy or SF.
What are people for in SF&F? To show us what's possible, and to show how that's possible right here, not just "out there somewhere."
On using Zen Buddhist notions of time in writing SF&F.
What Zen taught me about writing SF&F, part 1.
With every story set in a strange new world, give yourself as many individual elements of wonderful strangeness to draw on.
The story of a never-written project that made me realize why I don't want to rub the misery of our moment in people's faces and call that art.
More notes on writing SF&F, as a Buddhist- and Zen-influenced author.
The job of a storyteller should not be to make things complex, but to find common threads in complex things. Doubly so in SF&F.
An actual SF movie, not just a tarted-up shoot-'em-up, both because of the breadth of its ideas and how they are lovingly personalized.
In a story that spans multiverses and multi-selves, do we even need to talk about a "self"?
If there is a "throughline" for our moment in time, it's not something that condenses itself down to the kind of overarching planning found in fiction.
The mere fact that David Lynch's Dune was made at all, and in the Hollywood of the early 1980s to boot, is something of a miracle. Would that it was a better adaptation of the source material, or just a better movie, period.
In a field that's trend-driven, all the most interesting and truly groundbreaking work can only come from the fringes.
Skepticism of one's own positions is difficult to cultivate, in big part because the rest of the world openly defies us to doubt ourselves constructively.
When you are faced with a world this chaotic and nasty, is the only sane response to reject it wholesale?
Darren Aronofsky's ingenious micro-budget debut, twenty-plus years later, holds up better than some of his bigger-budgeted efforts
The books that made me -- specifically, the SF and fantasy books.
A kooky example of science fiction from Hong Kong, a cinematic world that has relatively little SF to begin with.
Twenty years later, the Wachowskis' digital fable still stands tall, outliving the slickness of the moment and attempts to misappropriate it