Tag Archives: Star Wars

Defining [my] design fiction.


It’s tough to define something that still so new that, in practice, there is no prescribed method and dozens of interpretations. I met some designers at a recent conference in Trento, Italy that insist they invented the term in 1995, but most authorities attribute the origin to Bruce Sterling in his 2005 book, Shaping Things. The book was not about design fiction per se. Sterling’s is fond of creating neologisms, and this was one of those (like the term ‘spime’) that appeared in that book. It caught on. Sometime later Sterling sought to clarify it. And his most quoted definition is, “The deliberate use of diegetic prototypes to suspend disbelief about change.” If you rattle that off to most people, they look at you glassy-eyed. Fortunately, in 2013, Sterling went into more detail.

“Deliberate use’ means that design fiction is something that people do with a purpose. ‘Diegetic’ is from film and theatre studies. A movie has a story, but it also has all the commentary, scene-setting, props, sets and gizmos to support that story. Design fiction doesn’t tell stories — instead, it designs prototypes that imply a changed world. Suspending disbelief’ means that design fiction has an ethics. Design fictions are fakes of a theatrical sort, but they’re not wicked frauds or hoaxes intended to rob or fool people. A design fiction is a creative act that puts the viewer into a different conceptual space — for a while. Then it lets him go. Design fiction has an audience, not victims. Finally, there’s the part about ‘change’. Awareness of change is what distinguishes design fictions from jokes about technology, such as over-complex Heath Robinson machines or Japanese chindogu (‘weird tool’) objects. Design fiction attacks the status quo and suggests clear ways in which life might become different.” (Sterling, 2013)

The above definition is the one on which I base most of my research. I’ve written on this before, such as what distinguishes it from science fiction, but I bring this up today because I frequently run into things that are not design fiction but are labeled thus. There are three non-negotiables for me. We’re talking about change, a critical eye on change and suspending disbelief.

Part of the intent of design fiction is to get you to think about change. Things are going to change. It implies a future. I suppose it doesn’t mean that the fiction itself has to take place in the future, however, since we can’t go back in time, the only kind of change we’re going to encounter is the future variety. So, if the intent is to make us think, that thinking should have some redeeming benefit on the present to make us better prepared for the future. Such as, “Wow. That future sucks. Let’s not let that happen.” Or, “Careful with that future scenario, it could easily go awry.” Like that.

A critical eye on change.
There are probably a lot of practitioners who would disagree with me on this point. The human race has a proclivity for messing things up. We develop things often in advance of actually thinking about what they might mean for society, or an economy, or our health, our environment, or our behavior. We design way too much stuff just because we can and because it might make us rich if we do. We need to think more before we act. It means we need to take some responsibility for what we design. Looking into the future with a critical eye on how things could go wrong or just on how wrong they might be without us noticing is a crucial element in my interpretation of intent.

Suspending disbelief
As Sterling says, the objective here is not to fool you but to get close enough to a realistic scenario that you accept that it could happen. If it’s off-the-wall, WTF, conceptual art, absent of any plausible existence, or sheer fantasy, it misses the point. I’m sure there’s a place for those and no doubt a purpose, but call it something else, but not design fiction. It’s the same reason that Star Wars is not design fiction. There’s design and there’s fiction but different intent.

I didn’t intend to have this turn into a rant, and this may all seem to you like splitting hairs, but often these subtle differences are important so that we know what were studying and why.

The nice thing about blogs is that if you have a different opinion, you can share.


Sterling, B., 2013. Design Fiction: “Patently Untrue” by Bruce Sterling [WWW Document]. WIRED. URL http://www.wired.co.uk/magazine/archive/2013/10/play/patently-untrue (accessed 12.12.14).
Bookmark and Share

It’s all happening too fast.


Since design fiction is my area of research and focus, I have covered the difference between it and science fiction in previous blogs. But the two are quite closely related. Let me start with science fiction. There are a plethora of definitions for SF. Here are two of my favorites.

The first is from Isaac Asimov:

“[Social] science fiction is that branch of literature which is concerned with the impact of scientific advance on human beings.” — Isaac Asimov, Science Fiction Writers of America Bulletin, 1951 1

The second is from Robert Heinlein:

“…realistic speculation about possible future events, based solidly on adequate knowledge of the real world, past and present, and on a thorough understanding of the scientific method.” 2

I especially like the first because it emphasizes people at the heart of the storytelling. The second definition speaks to real-world knowledge, and understanding of the scientific method. Here, there is a clear distinction between science fiction and fantasy. Star Wars is not science fiction. Even George Lucas admits this. In a conversation at the Sundance Film Festival last year he is quoted as saying, “Star Wars really isn’t a science-fiction film, it’s a fantasy film and a space opera.”3 While Star Wars involves space travel (which is technically science based), the story has no connection to the real world; it may as well be Lord of the Rings.

I bring up these distinctions because design fiction is a hybrid of science fiction, but there is a difference. Sterling defines design fiction as, “The deliberate use of diegetic prototypes to suspend disbelief about change.” Though even Sterling agrees that his definition is “heavy-laden” the operative word in his definition is “deliberate.” In other words, a primary operand of design fiction is the designers intent. There is a purpose for design fiction and it is to provoke discussion about the future. While it may entertain, that is not it’s purpose. It needs to be a provocation. For me, the more provocative, the better. The idea that we would go quietly into whatever future unfolds based upon whatever corporate or scientific manifesto is most profitable or most manageable makes me crazy.

The urgency arises in the fact that the future is moving way to fast. In The Lightstream Chronicles, some of the developments that I reserved for 25, 50 or even further into the future are showing signs of life in the next two or three years. Next week I will introduce you to a couple of these technologies.


1. http://io9.com/5622186/how-many-defintions-of-science-fiction-are-there
2. Heinlein, R., 1983. The SF book of lists. In: Jakubowski, M., Edwards, M. (Eds.), The SF Book of Lists. Berkley Books, New York, p. 257.
3. http://www.esquire.com/entertainment/movies/a32507/george-lucas-sundance-quotes/
Bookmark and Share

On Worldbuilding and the graphic novel

Some cursory research into the term worldbuilding will provide the description for an exercise in constructing a different world than the one we live in. It could take on the aspects of fantasy such as the world of The Lord of the Rings trilogy, or the role-playing game of Dungeons and Dragons, or it could be a fictional universe akin to the worlds of the Star Wars series of movies and books. In fact, any imaginary world, past or present, could qualify for the worldbuilding description. Whatever genre it assumes, good worldbuilding requires a significant amount of thought. Things like culture, politics, technology, social issues, health, and even human interaction are things to be considered and crafted. Since the author is creating a fictional universe and establishing all the rules, I really can’t imagine a science fiction writer doing anything less to assemble a coherent story.

I wrote The Lightstream Chronicles in the spring of 2011, originally as a screenplay, and then converted it into a graphic novel script shortly thereafter. As part of the exercise, I created a timeline that brought the world from 2011 to 2159 taking into account, (broadly at first then gradually adding detail) the geopolitical environment, technology, tools, society, culture and even some wild cards thrown in. Much of this appears in the first few episodes (pages) of the story (Season 1) but considerably more detail is available by accessing the backstory link on the LSC site. Nevertheless, since the production of all the episodes is still in the works, the process of worldbuilding continues as I sort out increasing levels of minutiae as it applies to all of the above.

A key motivating factor in my creative process is also the center of my research, namely how design and technology affect us as human beings. Design affects culture and culture affects design. Because culture is a hefty composite of our beliefs, behaviors, hopes, dreams, and humanity, it is my assertion that design and its conjoined twin technology, in many ways are becoming the primary sculptors of our culture.

I’ve come to view some version of the worldbuilding exercise as almost a prerequisite to design. If designecnology does have such a profound impact on culture and all of its entanglements, can design really afford to move into the future without considering these larger implications?

Perhaps this is something for my next academic paper.

Bookmark and Share