Mohs scale for science fiction

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“The humor and meaning of this article is to perceive all this as a game. I have played this game since childhood, so the rules should have been quite simple. Here they are: the reader of a fiction story should find as many copyright statements or conclusions as possible that are not consistent with the scientific facts of today; the author must admit as few such blunders as possible. "
Hol Clement.

( Translation from here )

Sci-fi fans always argue furiously about how “firmly” the scientific basis is in various works - but you cannot determine this by rubbing the story with a piece of quartz and checking whether it leaves scratches on the plot. Then what is “hardness” in science fiction, why do some people aspire to it, and how can we measure it?

Let's start with the first question. “Solid” science fiction is firmly tied to reality, rarely allowing unrealistic flights of fantasy, not substantiated scientifically, or based on technologies that do not exist at the time of writing, however, likely in the future from a scientific point of view. The rules of "soft" fiction are more flexible. Even the most fantastic aspects of the story demonstrate the difference: in solid fiction, they work at the expense of strict laws (preferably the laws of physics), while in soft fiction they work in a way that is best suited for the plot. Because of this difference, in the genre of "hard" fiction, the "bar" for the number of scientific aspects that the author should describe in the work is raised, and the scientific aspects are usually described explicitly.
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Example: let's say a character points to a time machine and asks - “how does it work”?

In "soft" fiction: "You sit in this chair, set the date you need, and pull that lever"

In the "hard" fiction: "A good question, and the answer will be interesting. Please sit down and I will introduce you to the course of the most recent ideas of quantum theory; after that, I will dedicate the chapter to explaining the detailed, but plausible, sounding links between quantum states, general field theory, and the way memory is stored in the brain related to the theories of both Albert Einstein and Stephen Hawking ”

Unfortunately, this template is not always suitable for analytical purposes - works of “hard” fiction may miss the details, as long as the basis of the presentation is correct in terms of modern science. Therefore, regardless of the typical stylistic delights of "hard" science fiction, the only way to define it is self-consistency and scientific accuracy.

This leads us to the next scale.



Hardness 1

Science only in the name of the genre. The work undoubtedly belongs to the literary genre of fiction, but hardly scientific. The main rule is the ubiquitous use of Phlebotinia ^* , usually in the form of the Isotope of Meaning ^** ; "Green Stone" ^{* 3} acquires new properties as much as necessary, and so on. Examples include Futurama, Star Wars, Gurren-Laganne, the DC and Marvel universes, and Adams's Hitchhiker's Guide to the Galaxy.

Hardness 2

World based on flebotinia ^* . Flebotinium ^* is widely used, which can be found in the surroundings of each star, but it is used in a rather coherent way, despite the lack of correspondence with reality. Its application is mainly in the framework of scientific research. Examples are the Saga of Lensmen, Evangelion, Star Trek, Starcraft.

Hardness 2.5

Hardness subclass, characteristic for mostly scientific-looking works, but using “not our” physics. As for the plot - they may contain a philosophical study of physical concepts that are no longer recognized as correct (for example, Aristotle's physics), or never recognized as correct (for example, a two-dimensional world instead of a three-dimensional one). Some works by Arthur Clarke fall into this class, although, given the intersection with fantasy, it is difficult to even classify such works as science fiction.

Hardness 3

So to say, "physics plus." Phlebotine ^* is still used in the works of this class, but the author seeks to harmonize its application with existing and invented laws of nature. Examples are the Honor Harrington series of books by David Weber, David Breen's Elevation Saga, and the Star Cruiser Galactica.

Hardness 4

"One big lie." The authors of works in this class invent one (or, at most, very little) contradicting the facts, the “law of physics” or principle, and build the narration on the basis of the consequences of this principle. The James Blysh Cities in Flight series of works ideally fits this category, thanks to the Dirac equations, which make it possible to create a super-luminous "Dizzying engine" and instant communication devices. Also in this class are most of the works of Alan Dean Foster in the series “Humanx Commonwealth”, “Fluency of Farnham” by Robert Heinlein, as well as many books by Vernor Vinge.

Hardness 4.5

This subclass can be called “One little fiction”, and it includes works that include only one thing that contradicts the real facts (usually superluminal travel), but in which this thing is not the basis of the plot. In this class fall into many novels of Hal Clement, and the comic "Free Fall" by Mark Stanley.

Hardness 5

"Speculative science." Works in which there is no “big lie” - science in the narration corresponds to a genuine theoretical science or technology, and the author’s goal is to allow as few inconsistencies as possible to known facts. This class corresponds to the novel "The Moon - the Harsh Mistress" by Robert Heinlein, and the first two books from the series "The World of Roche" by Robert L. Forward.

Hardness 5.5

Subclass "Futurology": works that are almost a prediction of the future, extrapolating the development of modern technologies instead of inventing important new technologies and inventions (of course, Futurorust ⁴ is often found in older works). This is the majority of the works of Jules Verne, as well as Gattaka and the Transhuman space.

Hardness 6

Real life (fiction - only in the genre). This is the "Common Universe", which gave rise to the so-called "non-fiction" genre. Despite various problems that can be described as “reality is unreal” ^{* 5} , it is almost universally recognized that there is no other known Universe, therefore, the work is carefully developed based on recognized scientific principles. This class includes the Apollo Program, World War II, and Woodstock.