In this thesis, we present a detailed analysis of the conventions that appear in fictional spaceship design, including a discussion of their origins, their uses in emulating certain traits, and reasons these conventions might be followed or ignored. We uncover these conventions by examining and comparing popular spaceship designs from the past sixty years, which we present in a detailed survey. We also examine an aesthetic interpretation of information theory, which can be used to describe the balance of uniformity amidst variety, and discuss specific strategies for incorporating these principles into the creation of spaceship surface details. Procedural modeling describes a set of techniques used to allow computers to generate digital content such as 3D digital models automatically. However, procedural modeling to date has focused on very specific areas: natural scenery such as trees and terrain, or cityscapes such as road maps and buildings. While these types of models are important and useful, they focus on a specific subset of the procedural modeling problem. Though procedural generation can be an invaluable tool for providing viable and dynamic content, it is troubling that so few types of objects have been studied in this area. Using the aesthetic and spaceship principles we define, we have developed a prototype system to procedurally generate the surface details of a large scale spaceship. Given a surface representing the frame of a spaceship, we apply geometry automatically in a coherent manner to achieve the appearance of a spaceship by emulating important traits.The aesthetics of science fiction spaceship design
While many people may not consider science fiction, fantasy or speculative fiction to be “literary,” research shows that all fiction can generate critical thinking skills and emotional intelligence for young readers. Science fiction may have a power all its own.
Historically, those who read science fiction have been stigmatized as geeks who can’t cope with reality. This perception persists, particularly for those who are unaware of the changes to this genre in the past several decades. A 2016 article in Social and Personality Psychology Compass, a scholarly journal, argues that “connecting to story worlds involves a process of ‘dual empathy,‘ simultaneously engaging in intense personal processing of challenging issues, while ‘feeling through’ characters, both of which produce benefits.”
From the “Harry Potter” and “Hunger Games” series to novels like Octavia Butler’s “Parable of the Sower” and “Parable of the Talents” and Nancy Kress’ “Beggars in Spain,” youths see examples of young people grappling with serious social, economic, and political issues that are timely and relevant, but in settings or times that offer critical distance.
This distance gives readers an avenue to grapple with complexity and use their imagination to consider different ways of managing social challenges. What better way to deal with the uncertainty of this time than with forms of fiction that make us comfortable with being uncomfortable, that explore uncertainty and ambiguity, and depict young people as active agents, survivors and shapers of their own destinies?
Animorphs was a YA sci-fi series that took the mid-90s Scholastic book fair circuit by storm. Written by K.A. Applegate, the books focus on a group of kids who gain the ability to transform into any animal they touch — but only for two hours, or else they're stuck that way. Naturally, they meet and befriend an alien named Aximili-Esgarrouth-Isthill (or "Ax" for short) who also has this same ability, and recruits them to join his guerilla resistance efforts to stop an invasion by a race of slug-like alien parasites who can crawl into peoples' ears and take over their brains.https://boingboing.net/2020/03/17/the-entire-animorphs-book-seri.html