Naturalistic science fiction

Naturalistic science fiction, a term coined by Ronald D. Moore, is a "presentation of a fantastical situation in naturalistic terms." It is an effort to write science fiction teleplays for shows such as the revised Battlestar Galactica series with the scientific realism found in hard SF combined with a stark flawed realism of characters and situations echoing that of soft SF. This concept in SF teleplays attempts to dismiss the thematic clichés of other television SF. Unlike most hard SF writing, however, naturalistic science fiction places as much importance on characterization as technical realism. Both the short-lived Firefly television series and the anime/manga Planetes applied many naturalistic SF concepts. Although the term reflects a recent development in science fiction television, aspects of "naturalistic science fiction" can be seen in films such as Alien and Blade Runner.

Related Topics:
Ronald D. Moore - Science fiction - Battlestar Galactica - Hard SF - Soft SF - Thematic - Firefly - Anime - Manga - Planetes - Alien - Blade Runner

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As described by its proponents, naturalistic science fiction may exhibit these characteristics:

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• Visual elements, such as a ship's bridge or Command-and-Control Center, are designed in the program to appear realistic, even everyday in appearance. The use of cinema verite-style camera work, if done correctly, may give the viewer the impression that the program is more of a documentary of real events. In the "Galactica" series, the spartan military life aboard the Battlestar war vessel would be frequently contrasted with the civilian ships and their luxuries. Rather than trying to create an alien or futuristic environment with sets and costumes, the "look" of the show is firmly grounded in contemporary architecture, technology, and fashion.
• Editorial elements would avoid the traditional cinematographic styles of television SF where the camera makes a series of fast, clipped cuts between characters, locales, and events. Instead, the camera flows with the environment and other characters to maintain as much of an actual "presence" of the viewer within the area of the events. Sharp camera cuts would also be avoided to keep the orientation of the viewer from being disturbed. Shots on characters may seem lengthy to pull the viewer into a dramatic moment or to add a greater visual examination of the reactions of a character, rather than a quick reaction with perhaps a character's line to punctuate the moment.
• Storylines in naturalistic SF avoid the use of elements that may be expected in traditional SF but might immediately lead the viewer to doubt the realism of the events. SF clichés such as alternate universes, extraterrestrial sentient beings, and other fictions that aren't experienced in the real world are played down in favor of events and situations that could actually occur in the viewer's life. Likewise, discussion of grandiose technology is avoided.
• Science in the teleplay would adhere to realistic physics that does not violate the Einsteinian General Relativity principles. Sounds cannot be heard in space; instead, viewers might hear the sounds of the ship as the pilot may hear them while inside. High-speed space flight, whether by a fighter craft or capital ship, follows the laws of inertia. Faster than light travel concepts do not violate Einstein theory, but use alternate concepts such as wormhole travel to maintain consistency. The few planetary environments that characters may find will be rarely inhabitable and frequently inhospitable, in line with current planetary discoveries that show that Earth-like planets rarely occur in the galaxy.

(Note: although proponents of "naturalistic science fiction" have stated that Earth-like planets are rare, the accuracy of this claim is scientifically unclear. Current planetary discoveries and theoretical work by researchers such as Kasting and Heath suggest that planetary systems may be abundant in the universe and that the probability of habitable conditions arising is considerably greater than once believed. However, this is a matter open to much scientific debate. The Rare Earth hypothesis can be used as a basis for science-fiction stories if it suits the dramatic needs of the storyteller, but it should not be assumed to be more scientifically accurate than the alternative.)

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• Human character archetypes frequently seen in television SF, such as a "heroic leader", a "young boy genius", elite crewmen with near superheroic-abilities, luck and bravery, and so-called redshirt crewmen are avoided. While characters may generally be written as skillful and knowledgeable, they also have deep flaws, such as alcoholism, and other complexities that viewers immediately recognize. No aliens or other extraterrestrial life appear in the teleplays; such beings would detract from the realism of the situations.

Other science fiction programs that previously tended towards the fantastic have recently adopted stylistic elements similar to those of self-proclaimed naturalistic science fiction. For example, in the 2005 season of Doctor Who, several episodes set in the distant future had characters dressed in clothes that would not have seemed out of place in 2005. Speaking about one villain from the year 200,000, Doctor Who producer Russell T. Davies told the documentary Doctor Who Confidential, "...let's not put him in a silly costume, let's not have capes and nonsense going on that evil geniuses tend to wear — let's just put him in a suit, a really 20th/21st century suit, so you can actually connect with the image, look sharp and sexy."

Related Topics:
2005 - Doctor Who - The year 200,000 - Russell T. Davies - Doctor Who Confidential - Suit

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