Writing a science fiction graphic novel that is set 147 years from now takes a lot of speculation on what the future holds. Not only technology is up for grabs, but geopolitics, society, transportation, fashion, and entertainment. The list is endless. There is a prevailing view among many science fiction writers that writing anything that falls in the near future runs dangerously close to being obsolete before you are published. That is one of the reasons I chose a far future scenario. It does drift into the realm of futurism. Of course, that is not my profession. There are plenty of futurists out there; professionals that make a living at researching and prognosticating on what might happen. They rarely go this far into the future, however. It’s just too far away to know and so much can happen between then and now.
Nevertheless, I am considering this a work of design fiction with a little bit of critical design thrown in for good measure. Design fiction is an emerging field of study that combines the application of design and speculative futures to, “enhance our capacity to seek out and work with possibility… exchange speculative ideas, disrupt conventional mindsets with provocative visions of alternative futures, and affirm individual agency” (Resnick, 2011:iii).1
Though the terms are sometimes used interchangeably, speculative design might be seen as an evolution of critical design. “Speculative design is a dreamlike exercise – manufacturing alternate worlds, ones which feel every bit as real as the ‘real world’ we inhabit day-to-day… It cannot predict the future, but it can shape the present”(Keating, 2011).2
At a basic level, design is a future-oriented pursuit—to create something that does not currently exist. Thus, as design expands to embrace more complex social issues and wicked problems, the migration toward, and application to the future sciences becomes more relevant. High atop these disciplines is the study of foresight. Foresight embodies critical thinking about long-term developments, to generate debate and participation toward shaping the future, especially toward public policy.1 In the practice of foresight and futures research, usually, “in the service of national strategic interests (Resnick, 2011:13), many have arrived at the conclusion that the changes imminent in the 21st Century are so broad and happening so fast, that current methodologies cannot cope.“ “… the emerging strategic conditions of the 21st Century require us for the first time in history to develop the capacity to engage consciously in the evolution of existing human cultures, including their most fundamental frames of reference” (Nelson, 2010:282).3
The graphic novel project and this paper are based on a collection of ideas from the aforementioned experiments into critical design, speculative design, design fiction, foresight, design research, and narrative among others. The project is, at a surface level, a science-fiction graphic novel. It depicts a future where technological, political, and cultural “evolutions” have not only transpired, but are commonplace. They have become a part of the everyday fabric of a future culture.
All of this underlies what, on the surface, looks like a sci-fi, crime thriller. But that makes it that much more interesting on many different levels. So, if this all sounds a bit too scholarly for you, forget it. Enjoy the story. Remember Chapter 1 is still free online and there is still time to get in line for the book or digital edition when it’s completed.
1.Resnick, R. (2011) Materialization of the speculative in foresight and design. Master of Design. OCAD-Ontario College of Art and Design.
3.Nelson, R. (2010) Extending foresight: The case for and nature of Foresight 2.0. Futures, 42 (4), p.282-294.