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Adam Gerencser

Sci Phi Journal 2024/1 – 10th Anniversary Issue For Download

Here it is, Sci Phi Journal’s 2024 Spring issue, marking the magazine’s 10th Anniversary!

If you like to peruse your seasonal dose of speculative philosophy printed on trusty old paper, or the slightly less old, but no less trusty screen of your e-reader, go ahead and download your free PDF copy just below.

We hope our mélange of concept-driven literary curiosities and thought-provoking essays will serve as a refreshing read for the months ahead!

Enjoy the trip,

the Sci Phi crew

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Editorial – Sci Phi Journal 2024/1

Lectori salutem.

Welcome to our 2024 Spring edition – marking the 10th anniversary of Sci Phi Journal!

Thanks to the generosity of our readers, we have been able to slightly increase the number of original stories, this time ranging from beautiful metaphysical journeys to alternate history scenarios on both large and small scales, along with the customary dose of light-hearted fancies, as well as two translations of classical SF tales (from Romanian and Spanish) hitherto unavailable in English.

The current issue is made complete by two essays, one on ideological diversity in speculative fiction by our trusty columnist, Tangent Online’s SF critic Mina, and a second by an illustrious trio of scholars introducing the Science Fiction and Philosophy Society, which held its inaugural meeting in 2023 (and with whom we will host a joint panel at the 2024 EuroCon in Rotterdam, Netherlands).

Somewhat surprisingly even to ourselves, some of our most-read pieces are essays on and around SF subjects, such as Joseph Heath’s “Why The Culture Wins”, an appreciation of Iain M. Banks, which has thus far been visited by a quarter of a million people – among them a certain Mr. Musk who, by tweeting about it, inadvertently crashed our website… (We are pleased to report that we had since upgraded to a server more befitting the requirements of the 21st century.)

By the time you are reading this, we will have festively opened an exhibition at the Liszt Institute in Brussels, Belgium, showcasing the solarpunk portfolio of Utopia-award finalist Dustin Jacobus, our longstanding cover artist, including previously unpublished visions of sustainable urban futures. If you happen to find yourself in the vicinity this spring, we encourage you to drop by for a free visit.

The world of 2014, when Sci Phi Journal first saw the light of day (in Australia, what more), was markedly different from our current realities. The field of speculative fiction had since then been buffeted by the COVID pandemic triggering a global wave of locked down authors and readers (and at least one attempt at a hybrid EuroCon), the return of warfare on European soil (and the subsequent suspension of Russia from the European SF Society), ideological polarisation in Anglophone literature, and political interference from outside the SF realm (award procedures at last year’s WorldCon in China being the latest example). We can only guess what challenges may lie ahead, chief among them the rise of AI and the effects it will have on human creativity.

Nevertheless, we dare to look into the future with an inquisitive spirit that has been our beacon since the current editorial team took the helm five years ago. Here’s to another decade of intriguing speculative philosophy in all its forms, welcoming its broad spectrum of views and voices from around the globe. (As long as they’re not over 2000 words, that is…)

Godspeed!

Speculatively yours,

the Sci Phi co-editors & crew

~

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Sci Phi Journal 10th Anniversary Exhibition Now Open

Dear friends of speculative philosophy,

if you happen to pass through good old Belgium between March and May 2024, come visit the brand new exhibition of our Utopia-award finalist cover artist Dustin Jacobus, at the Liszt Institute in downtown Brussels. Even better if you join us on 19 March for the opening-night reception, or 16 April for a special tour of the exhibition with Dustin. Both these events are free (just register via the link below), or drop in to see the works at the Institute any day between 10am and 3pm (free entry). Hope to see many of you there!

https://culture.hu/en/brussels/events/sci-phi-journal

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Sci Phi Journal 2023/4 – Winter Issue For Download

If you like to peruse your seasonal dose of speculative philosophy printed on trusty old paper, or the slightly less old, but no less trusty screen of your e-reader, go ahead and download your free PDF copy just below.

We hope our mélange of concept-driven literary curiosities and thought-provoking essays will serve as a cosy read for the winter months!

Enjoy the trip,

the Sci Phi crew

Sci-Phi-Journal-2023Q4Download

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Editorial – Sci Phi Journal 2023/4

Lectori salutem.

Welcome to our 2023 Winter edition.

How time flies! T’is the fifth instance already that we write these words of introduction against the background of the Advent season, with Sinterklaas celebrations in Belgium and preparations afoot for Christmas and its sibling yuletide holidays.

“Alas, one cannot shake the feeling that it is not entirely appropriate for a publication dedicated to SF, a genre most commonly associated with the future, to avert its gaze towards the sentimentality of the path already travelled. Yet with the approach of the festive season, we permit ourselves this small indulgence.”

The above lines are quoted verbatim from the first winter editorial we had penned as co-editors back in 2019 – in a world before COVID-19, war on Europe’s Eastern frontier and the advent of generative AI. It almost feels like an alternate reality to our own.

Yet, undeterred, Sci Phi Journal’s present issue intends to do just that – transport you to alternate realities which, even if they do not always take themselves entirely seriously, provide ample food for thought and, may we say, speculation. The original fiction created by our merry band of authors range from mathematical and theological conundrums to legal fantasy and epic world-building, complimented by another hitherto unpublished imaginary city by Săsărman. The selection is rounded off by two essays on the relationship between science-fiction and music, and the narrative potential of strategic (war)games, respectively.

So it appears befitting to recourse back to our erstwhile editorial in order to quote its parting words (with merely the markers of time removed):

“The entire team thanks you for your companionship along the journey and looks forward to sailing forth to bring you more cutting-edge philosophical speculation.

We wish all our readers, authors and contributors a merry Christmas and an auspicious start into the New Year!”

So say we all.

Speculatively yours,

the Sci Phi co-editors & crew

~

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Of Armchairs And Generals – Do We Tell Our Own Stories Through The Games We Play?

by Ádám Gerencsér

Imagine you and a friend (or significant other) playing a game. Let it be a simulation of grand strategy, animating the destinies of realms and peoples as they clash, compete, and cooperate over resources and territories. In your previous moves, you might have successfully united the Hungarian-speaking realm into the “Carpathian Empire” and feel ready to set out on a Crusade to the Holy Land. You may thus turn to your companion and ask her to join you, or at least send assistance but, alas, find her tied up further west across the sprawling map, gradually reconquering the Hispanic peninsula at the helm of her Aragonese troops. You discuss (outside of the game but staying in character, if you wish) and finally settle on arranging a useful marriage between your in-game heir and one of her Mediterranean vassals, thus ensuring that your next incarnation would gain access to more combat-ready levies.

If you know the game in question, no doubt your mind is already racing with possibilities – but do read on before rushing to your laptop. If you don’t, picture a vast scalable map of the Middle Ages residing on your computer screen, where one of the fiefdoms represents your lands, the attached family tree the characters of your family, and the world around them an almost endless possibility of interactions with other domains, noble houses, religions and trading partners. You are not a country, per se, neither just an individual, but rather a whole dynasty – and the game continues as long as your bloodline does (even in exile).

Thus, you are playing in (and with) a virtual world. But you are also doing something else, something more engaging and arguably more rewarding – you and your fellow gamer are weaving a common narrative: a story emerges.

The extent to which this happens depends largely on the nature of the game, rather than merely on the intent of the player. Thus, computer games may arguably be classified along a continuum defining their level of narrative involvement, stretching from story-driven to story-neutral. Doing so, one may group them roughly into the following three categories:

A.      Some depend on telling a story as their essence. These include role-playing games, in the vein of Dungeons & Dragons and its many re-implementations, as well as so-called “point-and-click” adventures (games essentially designed as interactive animations where player intervention is mediated by clicking with a mouse on items to manipulate or characters to converse with). You play because you want to know what happens next.

B.      Another category of games presents a hybrid experience more focussed on dexterity or tactics, but still offering a backstory that informs the fictional universe, even if with limited bearing on the player’s individual moves. These range from grand strategy titles (where the aim is the governance of states and macro-economies, such as Sid Meier’s Civilization) to squad-based situational simulations (where the player manages a small group of characters and their day-to-day struggle for resources, as in the emotionally impactful This War of Mine). You play for the experience.

C.      Meanwhile, some are almost void of story-telling elements, and rely instead on nifty mechanics through which the player competes with others, or overcomes procedural obstacles and achieves a sense of progression. Lore, if any, is mostly cosmetic. These span the breadth from casual entries (such as “brawlers”, i.e. fighting games, and racing titles, which can be picked up for a few minutes of entertainment) to highly time-intensive and complex “virtual toys” (incl. accurate flight simulators and detailed city builders, which demand a high learning curve and a large time investment). You play for sheer exhilaration.

Yet now let us add a second axis, representing the amount of freedom accorded to the person immersed in the game: in the language of design, this is often referred to as player agency. Here games range from complete linearity (traversing a pre-ordained path to complete a quest) to an open-world setting (where the main plot or purpose of the game can be postponed almost indefinitely in order to inhabit its fictional environment). These can map perpendicularly onto any of the three categories mentioned above, as per Fig. 1.

Fig. 1. Narrative agency in computer games

But which of these best lend themselves for player-led story-generation?

According to our analogy, the axes of both intersecting spectra meet somewhere in the middle. Depending on the player’s willingness to enrich the gaming experience by spinning their own tale, both by interacting with the game itself and by the added means of auto-suggestion, one could argue that the optimum requires a balance between “sand-box” (i.e. open world) liberty and realistic feedback, i.e. the manner in which the in-game environment reacts to the player’s actions. Thus, the less linear and more complex a setting is, the better opportunities it offers for user-led narrative building.

For a case in point, take the Creative Assembly’s Total War series, a succession of empire-building games blending the turn-based rhythm of board games for the political layer with real-time command and control for the battles that ensure when opposing armies come to occupy the same spot on the map. Each game covers a different historical period, from the Roman Empire to the Napoleonic era, with the most recent instalment (dubbed Attila) bridging the transition from late antiquity to the early Middle Ages. When immersed in this title’s grand campaign (i.e. leading a specific realm through the entire timespan of the game), the objectives for each faction delineate their choices to some extent, but player-agency is only constrained if one is preoccupied with the attainment of pre-set victory conditions.

To give an illustrative example, during the present author’s most recent session, he chose to impersonate a fictional Hunnic faction that acted as faithful guardians of Constantinople, hammering the enemies of the Byzantines at every turn. Since the algorithm governing the actions of the Eastern Romans did not initially foresee such a turn of events, the player had to sack their capital in the early game, in order to force them to make peace with his barbarian horde. This regrettable-but-necessary bloodshed, however, turned out to mark the beginning of a long, mutually beneficial alliance, as subsequent positive interactions eventually came to overshadow past frictions.

Another well-known example of a game that pushes the limits of player agency is Paradox Studio’s Europa Universalis franchise (and its cousins, incl. the Crusader Kings series alluded to at the outset). Co-operative campaigns played with human companions may be (and often are) entirely devoted to self-chosen objectives, such as uniting the Catholic world as an expansionist Papal State. These meta-game objectives blend the player’s personal interests or pet historical fantasies with the flexibility provided by the artificial intelligence underlying the software (the so-called Clausewitz engine). Narrative retellings of what had transpired during such lengthy session have become a staple of online forum discussions dedicated to these games, thus often completing the leap from ‘playing’ to ‘story-telling’.

The intense sense of creative potential is most evident in the “modding” culture that has sprung up around such games: some have communities of thousands of users who develop additional content (such as maps, historical events, military units, 3D models of buildings, artwork, etc.) and share it freely with others to download and integrate into their local copy of the software in question. Exposure to the “mods” thus created has shaped user expectations towards the features and flexibility subsequent titles ought to have.

There have even been attempts by “modders” to radically alter the nature of games that were conceived as linear by their original publishers. One of the most ambitious examples to date is the ongoing effort by enthusiast of Slitherine’s Panzer Corps to take the wealth of military units and map terrain tiles available from the base game (and its many official expansions) and create a giant scale map of Europe complete with railways, roads, cities and the disposition of forces reflecting the geostrategic situation in mid-1942. The massive scenario attempts, in effect, to turn a static digital board game emulating individual battles of World War 2 into an experimental device for alternate history world-building.

If these trends continue apace, those interested in crafting their own narratives through non-linear games have a lot to look forward to. With the advent of more powerful home computers and the emergent combinatory skills of artificial intelligence, we may see the advent of privately accessible grand strategy and simulation games that rival the professional software hitherto reserved to military academies and corporate research laboratories. Such development would unleash narrative potential on an unprecedented scale, particularly in the genres of speculative geopolitics and alternate history.

Far more revolutionarily, and with an impact that is hard to foresee, fledgeling virtual reality technologies will break the immersion barrier whereby procedurally generated worlds with realistic (incl. haptic) feedback will likely redefine what it means to require for audiences to ‘suspend disbelief’. As audiences will be plunged directly into the midst of fictional multi-sensory worlds, the very notion of linear story-telling is likely to be challenged by expectations of ubiquitous interactivity – and at greater lengths of immersion.

While there was an observable trend already in the 2010s for longer games, the revenues of both digital as well as analogue (board game) publishers focussing on complex titles increased markedly during the Covid pandemic, and held up firmly ever since. With ludophiles apparently having heeded the call for “social distancing” by retreating to their bunkers to play, the estimated 40 hours needed to complete a single campaign of the above-mentioned mega-games are certainly starting to look a lot less unreasonable. Particularly when judged alongside the time investment required for the (decidedly narrative) video game rated highest by worldwide critics in 2023, Belgium-based Larian Studio’s high-fantasy epic, Baldur’s Gate 3 – 100 to 150 hours by median estimates.

The question now remains – will people still take the time to read analogue literature in an age of hyper-immersive, personally tailored gaming experiences? As we head into 2024, we are perhaps closer to finding out than we could imagine.

~

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The Problem Child

How many great minds has humankind lost to the lure of comfortable middle-class life? By Richard Lau.

Sci Phi Journal 2023/3 – Autumn Issue For Download

If you like to peruse your seasonal dose of speculative philosophy printed on trusty old paper, or the slightly less old, but no less trusty screen of your e-reader, go ahead and download your free PDF copy just below.

We hope our mélange of concept-driven literary curiosities and thought-provoking essays will serve as a cosy read for the autumn months!

Enjoy the trip,

the Sci Phi crew

Sci-Phi-Journal-2023Q3Download

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Editorial – Sci Phi Journal 2023/3

Lectori salutem.

Welcome to our 2023 Autumn edition.

As summer gives way to fall in the northern hemisphere, several members of the crew watch their children start primary school and set out to accompany them on the journey of “learning the world” (to borrow an SF title). The awe experienced by youth in encountering the countless novelties still in store for them can often inspire a yearning for a renewed taste of the same in those more advanced in years. In the ‘golden age’, that quest was once seen as the prime mover of speculative fiction. And it is that same ‘Sense of Wonder’ which, in their various tiny ways, our stories and articles seek to explore this time around.

Both essays featured in this issue navigate the publishing landscape and editorial currents prevalent in the SF of the past and present, respectively, and the striving for novel angles on well-worn themes which sought to offer readers something new to think about with each turn of the page. We hope that in the ten works of fiction that form the body of this quarterly edition, every curious mind will find the odd bit to ponder. As often in this publication, they span the breadth of time from the Earth of antiquity to the Dyson-clad suns of the far future.

Excursions off the beaten track are, of course, not always welcome in this day and age. The story “A Rejection” resonated in particular with co-editor Mariano owing to his experience of having his research paper on non-heterosexual utopias rejected out of hand (i.e. without peer review) by a leading journal in the field of gay studies, for he had unearthed works of fiction which do not cleave to currently accepted orthodoxy. For more on this, see also his previous article on peer-enforced intellectual conformity, c.f. horizontal totalitarianism.

In a rebellious vein, we also resume the publication of the “missing” chapters from Georghe Săsărman’s imaginary cities – those that had not been available in English thus far. This time we include the most controversial, which Ursula Le Guin had declined to include when she translated the Romanian SF master’s urban fantasy flash cycle. The story is brought to life here through Monica Cure’s skilful English translation.

Enjoy the ride!

Speculatively yours,

the Sci Phi co-editors & crew

~

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Sci Phi Journal 2023/2 – Summer Issue For Download

If you like to peruse your seasonal dose of speculative philosophy printed on trusty old paper, or the slightly less old, but similarly trusty screen of your e-reader, go ahead and download your free PDF copy just below.

We hope our mélange of concept-driven literary curiosities and thought-provoking essays will serve as a cosy read for the summer holidays!

Enjoy the trip,

the Sci Phi crew

Sci-Phi-Journal-2023Q2Download

~

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Editorial – Sci Phi Journal 2023/2

Lectori salutem.

Welcome to our 2023 Summer edition.

While the spring had started quietly, to our surprise this turned out to be another bumper issue, containing ten original short stories loosely arranged around two themes: the possibility of communication (and the lack thereof) between different forms of intelligence, and the lore, history and mythology humans tend to build around concepts both real (wine, for instance) and fantastical (such as magical artefacts).

We are also featuring three essays which, each in their own way, tie into the ideas mentioned above, by examining works of fiction that deal with these issues in both written and audio-visual media.

The Sci Phi editors and team have also had some serious conversations with fellow SF practitioners and friends of speculation on the potential near-future impact of machine-generated literary and artistic content. We have come to the conclusion that, for now, we simply don’t know how to predict the extent to which the blanket deployment of these novel technologies will displace or empower individual creativity – there will likely be instances of both in equal measure.

Sci Phi Journal is not against the use of “artificial intelligence” as an expressive tool, per se, and even if we were, the tide of progress would merely wash over our objections. However, for the time being, we would like to hang on to the aspect of speculative fiction that brought us to this genre in the first place: the companionship of wonder. Communing with the visionary mind of the human author behind a story or artwork, and then engaging in rapt discussions with fellow fans to tease out the underlying ideas: these are some of the supreme pleasures of SF.

Therefore, until further notice, we will continue to publish only writing and illustrations wrought by human hand, harking back to the aesthetics of the pre-AI era.

This may or may not be wise. Time will tell. Meanwhile, enjoy the ride!

Speculatively yours,

the Sci Phi co-editors & crew

~

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Sci Phi Journal 2023/1 – Spring Issue For Download

If you like to peruse your seasonal dose of Speculative Philosophy printed on trusty old paper, or the slightly less old, but similarly trusty screen of your e-reader, go ahead and download your free PDF copy just below.

We hope our mélange of concept-driven literary curiosities will serve as a cosy and thought-provoking read for the balmy days of spring!

Enjoy the trip,

the Sci Phi crew

Sci-Phi-Journal-2023Q1Download

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Editorial – Sci Phi Journal 2023/1

Lectori salutem.

Members of the Sci Phi Journal crew started the year quick on their feet, roaming the world in search of inspiration and interesting conversation partners. Co-editor Mariano continued his quest for rarities deserving to be more widely known; some of his latest discoveries are reported in a comprehensive paper on early Latin European high fantasy published in our scholarly sister journal Hélice. Meanwhile, his colleague Ádám was particularly touched by the warm welcome extended to him by futurist Taiyo Fujii and Hirotaka Osawa, chairman of the Science Fiction & Fantasy Writers of Japan. Over many a steaming bowl of tea under the arching bookshelves of Sarugakuchō’s still surviving Tsutaya bookstore, they lamented the fading art of traditional publishing – an industry that, like most creative sectors, finds itself caught between the dual pressures of automation fuelled by artificial intelligence, on the one hand, and various strands of ideologies intent on curbing the freedom of expression, on the other.

Some things, though, remain unchanged. This latest issue of Sci Phi Journal carries on its old-school mission of bringing you stories ranging the width of speculative philosophy, from contemplative theology to light-hearted flights of fancy – all written and illustrated by actual humans.

Apropos fancy. When faced with the rise of censorious tendencies in print and online, we couldn’t help but commit the following ditty to paper:

Once upon a time in Cacophonia,
All words were equal and free to fret,
Till the ruckus offended the arbiters
Who put a speedy end to that.

In their terabytes of wisdom, they
Separated Bad talk from the Good,
Banished the former to naughty corners
Lest further dissonance be afoot.

Four-letter words were first to go,
For they make innocent maidens blush.
Then came jabs, jokes, and teases,
And detractors were told to “hush”.

Soon it was frowned upon to question,
To query, per change to moot.
The mavens wanted harmony, thus
Unruly thoughts were given the boot.

The naughty corners grew and grew.
Few Good words were left to abide,
And they eavesdropped longingly on
Lively banter from the unapproved side…

Speculatively yours,

the Sci Phi co-editors & crew

~

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Sci Phi Journal 2022/4 – Winter Issue For Download

If you like to peruse your seasonal dose of Speculative Philosophy printed on trusty old paper, or the slightly less old, but similarly trusty screen of your e-reader, go ahead and download your free PDF copy just below.

We hope our mélange of concept-driven literary curiosities will serve as a cosy and thought-provoking read for the winter holidays!

Enjoy the trip,

the SPJ crew

Sci-Phi-Journal-2022Q4Download

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Editorial – Sci Phi Journal 2022/4

Lectori salutem.

As 2022 is drawing to a close, the wider world will no doubt pause and ponder the events of the past twelve months – some of which, like the return of full-scale military conflict to the European continent, would have been considered science fiction just a year ago. But those of us drawn to future-bound speculation will also remark on the heady mix of technological developments that burst into the collective consciousness and may have an epoch-defining impact on creative domains formerly considered the dominion of humans.

Our cover image reflects one such phenomenon: the rise of AI art. The picture gracing the Journal’s front page is still entirely hand-drawn, yet its creator, Dustin Jacobus, contemplates in an op-ed that which may be lost all too soon with the advent of machine art.

Mindful of the warm glow of Christmas and its associated winter holidays, though, the present issue is filled with the otherworldly and wry, even humorous side of spec fic, though not without darker, more menacing tones lurking between the lines. Staples of sci-fi and fantasy make an appearance, from AIs to elves, rubbing shoulders with alien artefacts and furry critters, intertwined with visions of alternate realities and the afterlife.

Such mixed omens seem to colour discussions also at European sci-fi gatherings. Most recently, our co-editor Mariano presented Sci Phi Journal and our sister publication, Revista Hélice, during last month’s SF convention in Barcelona at a round table on the relationship between fandom and academia. With the two journals seeking to serve as a bridge between both uplifting and light-hearted speculation as well as serious academic thought about SF and philosophy, it was remarked that the genre itself is straddling both modes of thought, frequently oscillating between pessimism and euphoria.

To continue the conversation, you may wish to catch fellow co-editor Ádám at the first instalment of #AskTheEditors, a new series of live web meetings with a rotating panel of sci-fi & fantasy magazine editors, where (as the title suggests) the audience is encouraged to pepper the virtual podium with questions. The inaugural episode is scheduled for Saturday, 7 January 2023 at 17h00 Central European Time (contemporary with 08h00 Pacific Standard Time).

But for the present, we extend Christmas greetings to all our fellow SF readers and practitioners, and hope that the New Year will bring us closer to, rather than further from, Utopia.

Speculatively yours,

the SPJ co-editors & crew

~

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Sci Phi Journal 2022/3 – Autumn Issue For Download

Sci Phi Journal‘s 2022 Autumn Issue features another glorious cover art by Utopia Award finalist Dustin Jacobus and our customary melange of speculative philosophical fiction and essays off the beaten track.

If you like to peruse your seasonal dose of SFF on trusty old paper, or the slightly less old, but similarly trusty screen of your e-reader, you can download your free PDF copy just below.

We hope you enjoy the trip,

the SPJ crew

Sci-Phi-Journal-2022Q3Download

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Editorial – Sci Phi Journal 2022/3

Lectori salutem.

More by happenstance than by assertion of intent, our Autumn 2022 issue features stories that circumnavigate themes of language and perception, both at individual and anthropological levels, as these tend to gravitate towards each other on our editing desks. Sometimes, ideas seem to exert a mutual pull of attraction on the platonic plain, and we are but swept along.

This time around, our imaginary voyages shall range from the ancient past (incl. Sasarman’s classic Isopolis, hitherto unpublished in English), via alternate interpretations of the present reality we live in, to reports of future leaps of human evolution and far-flung planets with societies very different from our own.

A common concern amidst these tales is that how we perceive our relationship to our environs, our predicament in life, or our station within the wider community, is a substantive determining factor in a person’s picture of reality – even independently of external, material circumstances. It is hard to conceive of concepts we do not have words for. Thus, it can be uncomfortable to be made to think outside the “box” – or the dictionary. But language (as well as technology) can also be used as conduits to reprogramme minds, if the stimuli involved are sufficiently pervasive and persistent.

In this vein, our co-editor Mariano had recently returned from an immersive linguistic expedition of his own in the Swiss canton of Graubünden (or Grischun in local Rhaeto-Romance parlance), home to the speakers of Romansh. Having sufficiently recovered from his language lessons, he is now ready to publish his findings on the fantastic and speculative fiction that thrives with surprising vigour within that arcane literary corpus. Mina is also back with an essay on “proper and improper monsters,” exploring the shades of differences along the spectrum that spans from Frankenstein to futuristic cyborgs.

And as always, we thank you for your continued support on this journey of epistemic exploration – all aboard!

Speculatively yours,

the SPJ co-editors & crew

~

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