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Science fiction

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see Science fiction {{R from other capitalisation}} Image:Scifibooks.jpg thumb|300px|right|A collection of well-known science-fiction novels and magazines '''Science fiction''' is a genre of fiction in which advances in science, or contact with more scientifically advanced civilizations, create situations different from those of both the present day and the known past. Although science fiction is often written primarily to entertain, many authors use the genre to provide insight into science, society, or the human condition.

Definition and scope
{{SF}} The borders of the genre are difficult to define, and the dividing lines between its subgenres are often fluid. (In ''Strong Opinions'', Vladimir Nabokov half-seriously argues that if we were rigorous with our definitions, William Shakespeare Shakespeare's play ''The Tempest (play) The Tempest'' would have to be termed science fiction.) Broadly speaking, the science fiction genre is concerned with the effects of science or technology on society or individuals. These effects may be epic in scope or personal. The science-fictional elements may be imagined or rooted in reality, original or clichÃ©.

Science fiction and fantasy
A science fiction story may be firmly rooted in real scientific possibilities as they are understood at the time of writing, as in Arthur C. Clarke's novel ''A Fall of Moondust'', or highly imaginative, set in an extraterrestrial civilization or a Parallel universe (fiction) parallel universe, as in Isaac Asimov's novel ''The Gods Themselves''. Some science fiction portrays events that fall outside of science as currently understood, as in Ray Bradbury's ''The Martian Chronicles''. However, different readers have different ideas about what counts as realistic; an uneducated person will have different expectations about what science can do than a professional physicist. Clarke himself famously stated that "any sufficiently advanced technology is indistinguishable from magic." Thus, even fiction that depicts innovations ruled out by current scientific theory, such as stories about faster-than-light travel, may still be classified as science fiction. For this reason the borderline between fantasy and science fiction is blurred; many bookstores shelve science fiction and fantasy together. There is a substantial overlap between the audiences of science fiction and fantasy literature, and many science fiction authors have also written works of fantasy. Fans often nominate works of fantasy for SF awards such as the Hugo Award Hugo and Nebula Award Nebula, clearly indicating a substantial overlap among readers. Indeed, it can be argued that science fiction is simply a modern form of fantasy. In this view, the elements that would previously have been presented as fantasy (e.g., magic (paranormal) magic, shapeshifting, divination, mind-reading, fabulous beasts, and so on) are rationalized or supported through scientific or quasiscientific explanations such as marvelous devices, mutation, psychic abilities, aliens, etc. This definition is resisted by some scholars and writers who attempt to define the genre's aspects more sharply (such as Darko Suvin Darko Suvin's emphasis on SF's ''cognitive'' element) and advocate an aspiration to present a world without mystical or supernatural forces. Some SF clearly exhibits this aspiration, but not all. As a result, some theorists are able to emphasise the difference between SF and fantasy, while others emphasise continuity. It is also common to see narratives described as being essentially SF but "with fantasy elements." More recently, the term "Science fantasy science fantasy" has been increasingly used to describe such material.

Science fiction and mainstream literature
Science fiction can overlap with more mainstream fiction. If the society, the person, the technology, and the scientific knowledge base in the story are all drawn from observed reality, without much detail about the scientific aspects, the story may be classed as mainstream, contemporary fiction rather than as ''science'' fiction, like ''Marooned'' by Martin Caidin. If the characters' thoughts and feelings about the laws of the universe, time, reality, and human invention are unusual and tend toward existentialism existential re-interpretation of life's meaning in relation to the technological world, then it may be classed a modernist work of literature that overlaps with the themes of science fiction. Examples include Thomas Pynchon's ''Gravity's Rainbow'' and William Burroughs's ''Nova Express''.

Speculative fiction
The phrase speculative fiction has been suggested as more inclusive than "science fiction". The broader category of speculative fiction includes science fiction, fantasy, Alternate history (fiction) alternate histories (which often have no particular scientific or futuristic component), and even literary stories in which the only fantastic element is the strangeness of their style. Olaf Stapledon's ''Darkness and the Light'', which presents two possible futures for mankind defined by developments in ethics and philosophy, is a good example of speculative fiction. Another branch of speculative fiction is the utopian or dystopian story. These are sometimes claimed by science fiction on the grounds that sociology is a science. Many satirical novels with fantastic settings qualify as speculative fiction. ''Gulliver's Travels'', ''The Handmaid's Tale'' and ''Nineteen Eighty-Four Nineteen Eighty-four'' are examples.

Slipstream fiction
{{main|slipstream (literature)}} slipstream (literature) Slipstream is a term coined for fiction that does not fit comfortably either inside or outside the science fiction genre. A good example is the Hugo Award Hugo-nominated novel ''Cryptonomicon'' by Neal Stephenson.

Precursors of science fiction
Precursors of the contemporary genre, such as Mary Shelley's Gothic novel ''Frankenstein Frankenstein, or the Modern Prometheus'' (1818), the same author's post-apocalyptic ''The Last Man'' (1826), and Robert Louis Stevenson's ''The Strange Case of Dr. Jekyll and Mr. Hyde'' (1886) plainly are science fiction, whereas Bram Stoker's ''Dracula'' (1897), based on the supernatural, is not. A borderline case is Mark Twain's ''A Connecticut Yankee in King Arthur's Court'', where the time travel is unexplained, but subsequent events make realistic use of science. Shelley's novel and Stevenson's novella are early examples of a standard science fiction theme: The obsessed scientist whose discoveries worsen a bad circumstance.

Purpose of science fiction
Science fiction has often been concerned with the great hopes people place in science but also with their fears concerning the negative side of technological development; the latter is expressed in the classic theme of the hubristic scientist who is destroyed by his own creation. Much science fiction attempt to generate a sense of wonder, or awe, from the setting, circumstances, or ideas presented. Paradigm shifts may be used to induce a sense of shock, or a change in the frame of reference for the reader. A popular notion is that science fiction attempts to predict the future. Some commentators go so far as to judge the "success" of a work of science fiction on the accuracy of its predictions. However, while some science fiction is set in the future, most authors are not attempting literally to predict it; instead, they use the future as an open framework for their themes. As Ray Bradbury put it, "People ask me to predict the future, when all I want to do is prevent it." A science fiction writer is generally not trying to write a history of the future that they believe will happen, any more than a writer of Western (genre) westerns is trying to create a historically accurate depiction of the old West. Writers are as likely to write of a future that they hope will not happen as they are to write about a future they think will happen. Future societies and remarkable technological innovations are presented as enabling devices for cognitive exploration - or simply for entertainment - and the narratives are not meant to be predictive in any simple way. There are exceptions, however, especially in early science fiction. Eric S. Rabkin once wrote: :"The touchstone for scientific fiction, then, is that it describes an imaginary invention or discovery in the natural sciences. The most serious pieces of this fiction arise from speculation about what may happen if science makes an extraordinary discovery. The romance is an attempt to anticipate this discovery and its impact upon society, and to foresee how mankind may adjust to the new condition." (''Pilgrims Through Space and Time [New York, 1947])

Subject matter
Science fiction covers numerous distinct subjects. Many of these were originally treated by early pioneers such as H. G. Wells and Jules Verne. The following subjects from works by Verne are found in much later science fiction: * Space travel (''From the Earth to the Moon), 1865 * The future (''Paris in the 20th Century), 1863 * Technology not yet invented (Submarines ''20,000 Leagues Under The Sea''), 1870 * Mental changes in humans (''The Green Ray''), 1882 * Terraforming (''Invasion of the Sea''), 1904 H.G. Wells pioneered the following subjects: * Biological changes in humans or animals (''The Island of Dr. Moreau''). * Time travel (''The Time Machine''). * Humans with extraordinary powers (''The Invisible Man'') * Contact with aliens from other worlds (''The War of the Worlds (novel) The War of the Worlds'') * Space travel (''The First Men in the Moon'') * The future (''When the Sleeper Wakes'') * The evolution of the human race (''Men Like Gods'') * Atomic Warfare (''The World Set Free'')

Media
Image:Stranger in a Strange Land Cover.jpg Stranger in a Strange Land.html" title="Meaning of thumb thumb|right|The front cover of ''[[Stranger in a Strange Land'', one of the breakthrough science fiction books.html" title="Meaning of right|The front cover of ''[[Stranger in a Strange Land">thumb|right|The front cover of ''[[Stranger in a Strange Land'', one of the breakthrough science fiction books">right|The front cover of ''[[Stranger in a Strange Land">thumb|right|The front cover of ''[[Stranger in a Strange Land'', one of the breakthrough science fiction books Early science fiction was published in books and in general circulation magazines.

Magazines
{{main|science fiction magazine}} The science fiction magazine began in 1926 with the publication of ''Amazing Stories'' edited by Hugo Gernsback. Most science fiction written between 1926 and the early 1950s appeared in science fiction magazines. Since then, there has been a huge increase in the amount of written science fiction published, and now most written science fiction appears in either hardback or paperback books, though there is still significant science fiction published in magazines and now online.

Film
{{main|science fiction film}} Beginning early in the history of silent film, the science fiction film established a genre of its own, generally more sensational and less scientific than written science fiction. Some examples of early silent science fiction films include Georges MÃ©liÃ¨s's ''Le Voyage dans la Lune A Trip to the Moon'' (1902) and Fritz Lang's ''Metropolis (1927 film) Metropolis'' (1927). Many of the movie serials of the 1940s and 1950s were science fiction, and led into early science fiction television programming (see below). It has often been said that science fiction film lags about fifty years behind written science fiction. For example, George Lucas' landmark 1977 film ''Star Wars Episode IV: A New Hope Star Wars'' has been compared to the Pulp magazine pulp science fiction in ''Planet Stories'', first published in 1939. Following the success of ''Star Wars'', there has been an explosion of science fiction films. Films in the genre now regularly achieve blockbuster status, such as ''Alien (film) Alien'', ''E.T. the Extra-Terrestrial'', ''The Matrix'', and many others. Science fiction films also explore more serious topics and some aim for high artistic standards, especially following Stanley Kubrick's influential ''2001: A Space Odyssey (film) 2001: A Space Odyssey'' in 1968. Contemporary filmmakers have found science fiction to be a useful genre for exploring political and moral issues, such as 1997's ''Gattaca'' (genetic engineering), 2002's ''Minority Report (film) Minority Report'' (civil liberties and free will), and 2005's ''Serenity (film) Serenity'' (government secrecy).

Television
{{main|science fiction on television}} Science fiction television dates from at least as early as 1938, when the BBC staged a live performance of the science fiction play ''R.U.R. (Rossum's Universal Robots) R.U.R.''. The first regularly scheduled SF series to achieve a degree of popularity was ''Captain Video and his Video Rangers'', which ran from 1949 to 1955 on the American DuMont Network. ''The Twilight Zone'', originally broadcast in the United States from 1959-1964, was the first successful SF series intended primarily for adults, but it often blurred the distinctions between science fiction, science fantasy and fantasy. The TV serial ''Doctor Who'' first aired on BBC in 1963 and continued through 1989, introducing generations of U.K. viewers to the science fiction genre. ''Star Trek'' aired on NBC from 1966 to 1969, introducing a wider U.S. audience to the tropes of real science fiction.

Comics
Science fiction entered the comic strip medium in 1929 with ''Buck Rogers'', followed in 1934 by ''Flash Gordon''. The majority of Americans before the 1950s never encountered any science fiction other than in the "funny papers", and assumed all SF was like this comic strip material; the phrase "that crazy Buck Rogers stuff" was often used to describe it, originally as an insult but later fondly by some fan (aficionado) fans. The comic book began by reprinting comic strips, and Buck and Flash both had their own comic book reprints. As soon as original comic books began to appear, science fiction was a major genre. ''Planet Stories'' had a comic book companion. Hugo Gernsback published ''Wonderworld'' with art by pulp artist Frank R. Paul. Later EC Comics published the much beloved ''Weird Science'' and ''Weird Fantasy'' which first stole and later actually paid to adapt stories by Ray Bradbury. DC Comics published ''Strange Adventures'' and ''Mystery in Space'', edited by Julius Schwartz. Whether superheroes themselves are science fiction or fantasy is a matter of opinion -- they routinely break the laws of physics -- but superhero comic books often use science fiction tropes such as alien invasion, time travel, space travel, and giant robots. Many writers have worked in both prose science fiction and comic books. Examples include Alfred Bester, Gardner Fox, Edmond Hamilton, and J. Michael Straczynski.

Radio
Early radio science fiction began by adapting Buck Rogers and Flash Gordon stories for radio, but later brought some of the best magazine science fiction to a larger audience with ''Dimension X'' and ''X Minus One'', which adapted stories by Isaac Asimov Asimov, Robert A. Heinlein Heinlein, Fritz Leiber Leiber, and other major writers for radio. The most famous example of radio science fiction was Orson Welles' 1938 adaptation of ''The War of the Worlds (radio) The War of the Worlds'' on CBS Radio. Structured as a series of "news" bulletins, the program caused people across the U.S. to panic when some listeners believed it was real. Contemporary SF radio continues the tradition of adapting sources originally produced for other media. For example, the BBC has broadcast a number of Radio drama audio plays based on the Doctor Who television series. Less frequently in the modern era, science fiction programs initially developed for radio have spread outwards to other formats. The Hitchhiker's Guide to the Galaxy is perhaps the best known property of this type, beginning on BBC radio in 1978 and subsequently spawning a series of best-selling novels, a computer game, comic books and other products.

Other media
There have been a few science fiction stage plays, notably some Los Angeles theater adaptations of some of Bradbury's stories. There have been science fiction View-Master reels, notably "Sam Sawyer's Trip to the Moon". There have been original science fiction albums, such as ''Jeff Wayne's Musical Version of The War of the Worlds'' and The Firesign Theatre's "Don't Crush that Dwarf, Hand me the Pliers". There is also a small but growing number of science-fiction operas. In fact, science fiction has appeared in just about every medium conceived by the mind of man.

Terminology
The term "science fiction" first came into popular usage in the 1930s with the publication of ''Science Wonder Stories'' magazine by Hugo Gernsback. Gernsback had previously coined the portmanteau word "scientifiction" for the genre, but the term did not gain acceptance. Before then, stories in this genre were often referred to as "scientific romances". Two competing abbreviations for "science fiction" are in common usage. "'''SF'''" (or "'''S.F.'''") is the term most commonly used by science fiction writers and serious fans. This is also the preferred usage in the United Kingdom U.K.. The euphonic "sci-fi", popularized by Forrest J Ackerman in 1954, but coined earlier by Robert A. Heinlein, has grown popularity and is today by far the commonest term used in the popular press, although many hardcore fans and authors continue to wince at its usage or even consider it offensive. Brian Aldiss, defending the abbreviation "SF", notes that it is flexible enough to stand for science fantasy or speculative fiction, as well as science fiction. Some detractors of the term "sci-fi" have corrupted its pronunciation to "skiffy", which itself has become a sub-genre term for poorly made science fiction. Harlan Ellison has derided the term "sci-fi" as a "hideous neologism" that "sounds like crickets fucking" a comment to which Ackerman responded by producing buttons bearing the slogan, "I love the sound of crickets making love." One ongoing line of thought (as reflected in editorials in various genre magazines) is that ''SF'' is fiction where science genuinely plays a role in the story, while ''sci-fi'' is an entertainment genre featuring space ships, futuristic technology, bug-eyed monsters (BEMs) as exciting props and frightening images. In other words, in ''sci-fi'' the science elements are fantastical and intended to amaze and attract the reader or viewer, while in ''SF'' the science elements enable an original story that otherwise would not present the same conflicts and opportunities to the characters. Another source of dislike for the term ''sci-fi'' term is the tendency for the mainstream to use it as a collective term that lumps together not only true science fiction but fantasy, Horror fiction horror, comic books, cult films, special effects action films, only marginally related genres such as anime and gaming, and completely unrelated fields such as UFOlogy. (The term "science fiction" itself has also been used at various times as a collective marketing term for these genres.) Despite this controversy, two high-profile science fiction-based cable networks in the United States and the United Kingdom take their name from this term, although both networks air programming which may not fit into everyone's definition of "science fiction." The channel name may be particularly suitable for those who dislike the term sci-fi since, according to David Langford Dave Langford:

''SF people [pronounce sci-fi] in tones of heavy irony to describe bad TV or movie sf.''
â€”[http://www.ansible.co.uk/sfx/sfx004.html ''Fandom As She Is Spoke'', September 1995]

A variation of the term is "sci-fantasy".

Fandom
The science fiction genre has a strong fan community of readers and viewers, of which many authors are a part. Many people interested in science fiction wish to interact with like others who share the same interests; in time, an entire culture of science fiction fandom evolved. Local fan groups exist in most of the English-speaking world, as well as in Japan, Europe, and elsewhere; often, these groups publish their own works. Also, fans (or 'Fen (disambiguation) fen', in the common argot) have created science fiction conventions as a way of meeting to discuss their mutual interests; the original and largest convention is the Worldcon. Many amateur and professional fanzines ("fan magazines") exist, dedicated solely to keeping the science fiction fan informed on all aspects of the genre. The premiere literary awards of science fiction, the Hugo Awards, are awarded by members of the annual Worldcon, which is almost entirely run by fan volunteers; the other major science fiction literary award is the Nebula Award Nebula. Science fiction fandom often overlaps with other, similar interests, such as fantasy, role-playing games, and the Society for Creative Anachronism. The largest, annual, multi-genre science fiction convention is Dragon Con, held in Atlanta, Georgia, USA. Of course, the fans of science fiction have whole-heartedly embraced the Internet. There are fan fiction sites which include additional, fan-created stories featuring characters from the genre's books, movies, and television programs. Although these may be technically illegal under copyright law, they often are permitted when no profit is made from them, and there is clear understanding that the copyright remains property of the characters' original creators. There are fan sites devoted to Frank Herbert's ''Dune'', Michael Moorcock's ''Multiverse'', Joss Whedon's ''Firefly (TV series) Firefly'' and ''Serenity (film) Serenity'', etc. and to television shows such as ''Star Trek'' and its derivatives. SF fandom has frequently served as an incubator for special-interest groups which originally coalesced within it and then hived off to form organizations or entire subcultures of their own. Examples include: * The Society for Creative Anachronism after 1971 * The L-5 Society after 1975 * LARP gaming after 1983 * Furry fandom around 1985 * The polyamory movement after about 1993 * American anime fandom after about 2002 SF fandom also has close historical links and a large population overlap with the hacker culture, and has been a significant vector in the spread of both neopaganism and libertarianism.

See also
* :Category:Science fiction by media * Clarke's three laws * Cooper's Law * Famous predictions * Future studies * Genres, subcategories and related topics to science fiction * Golden Age of Science Fiction * Hard science fiction * History of science fiction * Isaac Asimov's Three Laws of Robotics * Lesbian science fiction * List of science fiction awards * Political ideas in science fiction * Religious ideas in science fiction * :Category:Science fiction magazines Science fiction magazines (category list) * :Category:Science fiction related magazines Science fiction related magazines (category list) * Science fiction authors * Science fiction film * Science-fiction operas * Science fiction in Croatia * Science fiction in Japan * Science Fiction Museum and Hall of Fame * Science fiction on television * Science fiction themes * Timeline of the future in forecasts * Weapons in science fiction

References
* Brian W. Aldiss with David Wingrove, ''Trillion Year Spree: The History of Science Fiction'' (Atheneum, 1986) ISBN 0-689-11839-2 * Neil Barron, ed., ''Anatomy of Wonder: A Critical Guide to Science Fiction'', 5th ed. (Libraries Unlimited, 2004) ISBN 1-59158-171-0 * John Clute, Peter Nicholls (writer) Peter Nicholls, eds., ''The Encyclopedia of Science Fiction'' (St. Martin's Press, 1995) ISBN 0-312-13486-X * Thomas M. Disch, ''The Dreams Our Stuff Is Made Of'' (Touchstone, 1998) ISBN 0-864-82405-1 * Jutta Weldes, ed., ''To Seek Out New Worlds: Science Fiction and Politics'' (Palgrave Macmillan, 2003) ISBN 0-312-29557-X * Gary Westfahl, ed., ''The Greenwood Encyclopedia of Science Fiction and Fantasy: Themes, Works, and Wonders'' (three volumes) (Greenwood Press, 2005). * Gary K. Wolfe, ''Critical Terms for Science Fiction and Fantasy: A Glossary and Guide to Scholarship'' (Greenwood Press, 1986) ISBN 0-313-22981-3

SF portals

- Analog - Published magazine for fiction
- The Association of Science Fiction & Fantasy Artists (ASFA) - Artists site and galleries
- Asimovs - Asimov's science fiction magazine
- Chronicles Network - Online ezine and forums
- Infinity Plus - Magazine and online articles
- Locus Online - Online avatar of ''Locus'' magazine: "News, Reviews, Resources, and Perspectives of Science Fiction, Fantasy, and Horror"
- Scifi.com - Site for the Sci-Fi channel
- SF Crowsnest - Reviews and interviews
- SFF Net - Homepages of many science fiction and fantasy writers, et al.; discussion groups, blogs, more
- SFF World - Online e-zine with reviews and forums
- SF Site - Online e-zine with lots of reviews and articles
- SFWA - Science Fiction Writers of America
- SFW - SciFiWorld - biographies and reviews

Bibliographies of SF in various languages

- nooSFere, the largest genre reference in French
- BDFI Base de DonnÃ©es Francophone de l'Imaginaire
- DaÃna Chaviano Cuban SF author. Complete bibliography, articles, interviews and news, in Spanish and English.
- Quarante-deux French SF portal
- Bibliographie deutschsprachiger Science Fiction-Stories und BÃ¼cher Bibliography of works appearing in German
- Cuban Science Fiction Main authors and evolution, in Spanish.
- Science Fiction in der DDR: Die Bibliographie East German (GDR) SF Bibliography
- Catalogo SF, Fantasy, Horror The most comprehensive bibliography of SF, Fantasy and Horror published in Italian
- AxxÃ³n, the first SF ezine in Spanish, from Argentina
- La Tercera FundaciÃ³n The biggest bibliography of SF published in Spanish
- DesdeAfuera, Peruvian SF in Spanish
- GuaicÃ¡n literario, [http://it.stlawu.edu/~koon/cuba/CFCubana/CubanSF.html Cuban SF], Cuban SF, history, interviews, news in Spanish and English
- SF & Fantasy by Women Spanish-language Bibliography
- Russian science-fiction and fantasy

External links

- Most Honored Science Fiction Books
- The Distant Star: Amateur Sci-Fi and Fantasy Literature Community
- Cool SciFi - Sci-fi and Fantasy discussion forum & community
- Dictionnaire international des termes littÃ©raires: Essay defining Science Fiction.
- Worldcon - Site for the biggest international SF convention
- Science Fiction Foundation - promoting and supporting the genre
- Great Science-Fiction & Fantasy Works speculative fiction treated as literature
- MrSCIFI: Science Fiction news review and discussion forum.
- Worm's Sci Fi Haven: Science Fiction Discussion Forum.
- Science Fiction & Fantasy Wiki
- SFFaudio.com - Science Fiction audiobook resources
- The Science Fiction Review: A new site based upon reviews of literary science fiction, focused upon short works Category:Speculative fiction Category:Science fiction * Category:Literary genres {{Link FA|ja}} af:Wetenskapsfiksie br:Skiant-faltazi bg:Ð¤Ð°Ð½Ñ‚Ð°Ñ?Ñ‚Ð¸ÐºÐ° bs:NauÄ?na fantastika cs:Science fiction da:Science fiction de:Science Fiction eo:Sciencfikcio es:Ciencia ficciÃ³n fa:Ø¹Ù„Ù…ÛŒ-ØªØ®ÛŒÙ„ÛŒ fi:Science fiction fr:Science-fiction gl:FicciÃ³n cientÃfica he:×ž×“×¢ ×‘×“×™×•× ×™ hr:Znanstvena fantastika hu:Sci-fi id:Fiksi ilmiah it:Fantascienza ja:ã‚µã‚¤ã‚¨ãƒ³ã‚¹ãƒ»ãƒ•ã‚£ã‚¯ã‚·ãƒ§ãƒ³ ko:ê³¼í•™ ì†Œì„¤ lt:MokslinÄ— fantastika mk:Ð?Ð°ÑƒÑ‡Ð½Ð° Ñ„Ð°Ð½Ñ‚Ð°Ñ?Ñ‚Ð¸ÐºÐ° nl:Sciencefiction nn:Science fiction no:Science fiction pl:Fantastyka naukowa pt:FicÃ§Ã£o cientÃfica ro:Science-fiction ru:Ð?Ð°ÑƒÑ‡Ð½Ð°Ñ? Ñ„Ð°Ð½Ñ‚Ð°Ñ?Ñ‚Ð¸ÐºÐ° sco:Science Feection sh:Znanstvena fantastika sk:VedeckÃ¡ fantastika sl:Znanstvena fantastika sv:Science fiction th:à¸™à¸´à¸¢à¸²à¸¢à¸§à¸´à¸—à¸¢à¸²à¸¨à¸²à¸ªà¸•à¸£à¹Œ tr:Bilim kurgu zh:ç§‘å¹»å°?è¯´ zh-min-nan:Kho-hoÃ n siÃ³-soat See also :Category:Fantasy {{catmore}} Category:Fiction Category:Speculative fiction Category:Literary genres Category:Film genres bg:ÐšÐ°Ñ‚ÐµÐ³Ð¾Ñ€Ð¸Ñ?:Ð?Ð°ÑƒÑ‡Ð½Ð° Ñ„Ð°Ð½Ñ‚Ð°Ñ?Ñ‚Ð¸ÐºÐ° cs:Kategorie:Science fiction da:Kategori:Science fiction de:Kategorie:Science-Fiction es:CategorÃa:Ciencia ficciÃ³n eo:Kategorio:Sciencfikcio fr:CatÃ©gorie:Science-fiction ko:ë¶„ë¥˜:ê³¼í•™ ì†Œì„¤ it:Categoria:Fantascienza hu:KategÃ³ria:Science fiction nl:Categorie:Sciencefiction ja:Category:SF no:Kategori:Science fiction nn:Kategori:Science fiction pt:Categoria:FicÃ§Ã£o cientÃfica ru:ÐšÐ°Ñ‚ÐµÐ³Ð¾Ñ€Ð¸Ñ?:Ð¤Ð°Ð½Ñ‚Ð°Ñ?Ñ‚Ð¸ÐºÐ° sv:Kategori:Science fiction tr:Kategori:Bilim kurgu zh:Category:ç§‘å¹»

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