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When working on a project, let’s say an illustration, in the beginning I always look for appropriate references. Then I pick and use the best of each reference I’ve found, selecting for mood, composition, and perspective, and I assemble them into my illustration. It’s part of my learning process. As time goes by, I’m getting used to it, and I work automatically based on what I learned from the references.
I remember reading SF back in middle and high school that speculated about the future of art. Nothing I read in those stories (I recall one had an olfactory symphony, for instance) would have prepared me for slash fanvids or World of Warcraft machinima sagas or custom My Little Ponies done up as everything from Marilyn Monroe to Johnny Depp.
The culture of the coyotes feels a lot more interesting to me than dog-level violence or the mechanics of transformation. Especially in the way romance in America can blur the borders that insulate a subculture. Like the first time Sarah came to one of my Protestant family’s witch burnings.
Welcome to issue thirty-one of Lightspeed! We’ve got another great issue for you this month; read the editorial to see what we have on tap.
The Age of Big Data is upon us, and the externalization of our inner life and the outsourcing of our mental processes to technology are long-term trends. Do these trends free us to be more creative, more caring, more human? Or do they make us more dependent, more isolated, less human? Different temperaments and vantage points will lead us to give different answers.
I grew up Mormon in Utah, so I was part of a fairly intensive religion in a state where it was the dominant cultural influence. It thought of itself as a day-to-day religion more than a Sunday religion, and so infected a good part of one’s other activities. Now I’m an excommunicated Mormon and am fairly far outside of it, but am still fascinated not only with religion but with the ways community forms around religious belief.
[Wards of Faerie] is the first in a trilogy that I have been thinking about for quite a bit of time. It’s in the future of the Shannara world, not in the prehistory where I have been working. It is a direct sequel to the High Druid set of books, and it’s about a topic that has been discussed ever since I wrote Elfstones back in the day—1982 or whatever it was when it was published—about the Elfstones themselves, which were forged in the ancient world of Faerie before humans, and nobody knows what happened to them.
Any story has an agenda, a point of view. And a folk tale/fairy tale has a very strong one, molded over centuries. After Perrault made the fairy tale into a literary form, writers used stories in this genre to advance what they saw as good manners and a proper way of life. The stories become quite elegant even when compared to the Grimms’ tales, which were cleaned up for 19th century consumption.
The idea was not so much virtual reality, but augmented reality. I’ve been really intrigued by adding a pair of goggles that overlay digital data over existing objects in the real world (virtual reality inside out, so to speak). You can see the effect using the app AcrossAir for the iPhone. What is more interesting to me is what we’ll do when we gamify augmented reality.
[Blue Remembered Earth] is a big departure for me. It’s my attempt to get back to something a little bit closer to the present in terms of the way I think about science fiction. So it’s a novel which looks at where we might be in a hundred and fifty years in terms of going out into the solar system, going back to the moon and Mars, but also looking at the Earth, the kind of trends that we might expect to see over the next century and a half on our own planet—things like artificial intelligence, genetic engineering, and ubiquitous surveillance technology.
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