History Main / ScifiGhetto

12th Feb '16 5:09:18 PM supergod
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This is way too confusing. No idea what you're trying to say. Are you complaining about the critics or the genre itself? This article should be about critics unfairly having a negative perception about a work because of its genre.
Another genre that often gets hit is the detective/thriller genre (or, in its modern incarnation, CrimeAndPunishment .). To a few critics it is absolutely unnacceptable how the genre still exists when genre deconstructions about it, dating as far back as the 19th century (such as the Fyodor Dolstoyewsky's novel ''Crime and Punishment''), have shown that the genre is blatantly racist. It happens frequently to a CrimeAndPunishment serial to be considered too blatantly racist for the LowestCommonDenominator , regardless of whether or not it is a {{Reconstruction}}. There are a few critics out there dedicated to the genre (that have a reputation for being [[CausticCritic caustic critics]], [[SturgeonsLaw with good reasons]]) that can point out good reconstructions, but it is really unfortunate that [[CriticalDissonance the most successful thrillers/detective novels are the ones with extremely bad critic review scores]] and also the ones that blatantly pander the most to those stereotypes.
12th Feb '16 10:13:46 AM hydrix
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Another genre that often gets hit is the detective genre (or, in its modern incarnation, CrimeAndPunishment .). To a few critics it is absolutely unnacceptable how the genre still exists when genre deconstructions about it, dating as far back as the 19th century (such as the Fyodor Dolstoyewsky's novel ''Crime and Punishment''), have shown that the genre is blatantly racist. It happens frequently to a CrimeAndPunishment serial to be considered too blatantly racist for the LowestCommonDenominator , regardless of whether or not it is a {{Reconstruction}}.
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Another genre that often gets hit is the detective detective/thriller genre (or, in its modern incarnation, CrimeAndPunishment .). To a few critics it is absolutely unnacceptable how the genre still exists when genre deconstructions about it, dating as far back as the 19th century (such as the Fyodor Dolstoyewsky's novel ''Crime and Punishment''), have shown that the genre is blatantly racist. It happens frequently to a CrimeAndPunishment serial to be considered too blatantly racist for the LowestCommonDenominator , regardless of whether or not it is a {{Reconstruction}}. {{Reconstruction}}. There are a few critics out there dedicated to the genre (that have a reputation for being [[CausticCritic caustic critics]], [[SturgeonsLaw with good reasons]]) that can point out good reconstructions, but it is really unfortunate that [[CriticalDissonance the most successful thrillers/detective novels are the ones with extremely bad critic review scores]] and also the ones that blatantly pander the most to those stereotypes.
12th Feb '16 10:06:52 AM hydrix
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Another genre that often gets hit is the detective genre (or, in its modern incarnation, CrimeAndPunishment .). To a few critics it is absolutely unnacceptable how the genre still exists when genre deconstructions about it, dating as far back as the 19th century (such as the Fyodor Dolstoyewsky's novel ''Crime and Punishment''), have shown that the genre is blatantly racist. It happens frequently to a CrimeAndPunishment serial to be considered too blatantly racist for the LowestCommonDenominator , regardless of whether or not it is a {{Reconstruction}}.
5th Feb '16 2:45:53 AM Alia_of
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** From the same author, ''London Fields'', which at the time of writing (1989) was set in the near future (1999) and which contained some then futuristic elements (like DNA profiling of small-time thieves). But it's described as "murder mystery" and "dark comedy", not sci-fi.
5th Feb '16 2:39:01 AM Alia_of
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* ''Canopus in Argos: Chronicles'' by Nobel Prize winner Creator/DorisLessing is a series of five books spanning thousands of years and thousands of light years. The author herself seemed to have nothing against science-fiction (as the foreword to book 1 ''Shikasta'' shows), but would you find it on sci-fi shelves in bookstores and libraries? No way. The same author also wrote ''Memoirs of a Survivor'', which is future dystopia.
25th Jan '16 5:53:52 AM fearlessnikki
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* ''Film/StarWarsTheForceAwakens'' grossed over $1.5 billion at the Box Office and earned a 93% rating on Rotten Tomatoes. But when the awards came around, it fell into the ghetto and only received nominations in the technical categories.
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* ''Film/StarWarsTheForceAwakens'' ''Film/TheForceAwakens'' grossed over $1.5 billion at the Box Office and earned a 93% rating on Rotten Tomatoes. But when the awards came around, it fell into the ghetto and only received nominations in the technical categories.

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* ''Film/StarWarsTheForceAwakens'' grossed over $1.5 billion ''Film/PansLabyrinth'' is a DarkFantasy movie that is critically acclaimed, and got a twenty minute standing ovation when it was played at the Box Office Cannes Film Festival. But it hasn't stopped some viewers from trying to interpret the fantasy elements as figments of Ofelia's imagination - despite the film making it clear that they're real and earned a 93% rating on Rotten Tomatoes. But when the awards came around, it fell into the ghetto and only received nominations in the technical categories.WordOfGod confirming it.
21st Jan '16 5:10:24 PM nombretomado
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** However, the spaceship simulation genre has suffered since the 90s, with barely a new release per year. More recently, with the advent of {{Kickstarter}}, the genre is trying to have its revival with campaigns such as [[VideoGame/StarCitizen a new project]] by Chris Roberts of ''VideoGame/WingCommander'' fame, [[http://www.kickstarter.com/projects/1461411552/elite-dangerous a new]] ''VideoGame/{{Elite}}'' game, a TransformingMecha [[http://www.kickstarter.com/projects/43153532/strike-suit-zero space combat game]] and the already-released ''[[VideoGame/FTLFasterThanLight FTL]]''. {{Steam}}'s friendliness to indie developers has proven a boon to the genre.
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** However, the spaceship simulation genre has suffered since the 90s, with barely a new release per year. More recently, with the advent of {{Kickstarter}}, the genre is trying to have its revival with campaigns such as [[VideoGame/StarCitizen a new project]] by Chris Roberts of ''VideoGame/WingCommander'' fame, [[http://www.kickstarter.com/projects/1461411552/elite-dangerous a new]] ''VideoGame/{{Elite}}'' game, a TransformingMecha [[http://www.kickstarter.com/projects/43153532/strike-suit-zero space combat game]] and the already-released ''[[VideoGame/FTLFasterThanLight FTL]]''. {{Steam}}'s UsefulNotes/{{Steam}}'s friendliness to indie developers has proven a boon to the genre.
21st Jan '16 4:33:10 PM drbreakfast
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* Much like ''Film/TheSilenceOfTheLambs'', ''Film/TheHatefulEight'' is very rarely called a horror movie, even though Creator/QuentinTarantino and Music/EnnioMorricone have outright said that it's horror and that the score was composed with this mind.
16th Jan '16 4:42:34 PM henry42
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* Complaints about [[Film/IndianaJonesAndTheKingdomOfTheCrystalSkull the latest]] ''Franchise/IndianaJones'' film often revolve around people being unable to accept aliens in Indy, despite them not being any less plausible than the radioactive [[Film/RaidersOfTheLostArk Ark of the Covenant]], [[Film/IndianaJonesAndTheTempleOfDoom Indian dark magic]] or the ''frigging [[Film/TheLastCrusade Holy Grail]]'' in the previous films. This is because religion-induced magic and SF-induced magic are worlds apart by fandom and by shelving. It could also be about the ''inconsistency''. For many people, the presence of the Ark of the Covenant and the Holy Grail are definitive proof that the Abrahamic God actually exists in Indy's universe. It is therefore presumed that interdimensional aliens would not be ''allowed'' to turn up and start teaching primitive humans advanced knowledge, less still to induce said primitives to ''worship'' them. ([[IfJesusThenAliens If Jesus, Then Not Aliens]].) Of course, you could equally argue that a) advanced aliens are a means to an end for God, or b) the Ark and the Grail are in fact [[AncientAstronauts technological artifacts crafted by said aliens]], not divine artifacts.
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* Complaints about [[Film/IndianaJonesAndTheKingdomOfTheCrystalSkull the latest]] ''Franchise/IndianaJones'' film often revolve around people being unable to accept aliens in Indy, despite them not being any less plausible than the radioactive [[Film/RaidersOfTheLostArk Ark of the Covenant]], [[Film/IndianaJonesAndTheTempleOfDoom Indian dark magic]] or the ''frigging [[Film/TheLastCrusade Holy Grail]]'' in the previous films. This is because religion-induced magic and SF-induced magic are worlds apart by fandom and by shelving. It could also be about the ''inconsistency''. For many people, the presence of the Ark of the Covenant and the Holy Grail are definitive proof that the Abrahamic God actually exists in Indy's universe. It is therefore presumed that interdimensional aliens would not be ''allowed'' to turn up and start teaching primitive humans advanced knowledge, less still to induce said primitives to ''worship'' them. ([[IfJesusThenAliens If Jesus, Then Not Aliens]].(NoSuchThingAsSpaceJesus.) Of course, you could equally argue that a) advanced aliens are a means to an end for God, or b) the Ark and the Grail are in fact [[AncientAstronauts technological artifacts crafted by said aliens]], not divine artifacts.
16th Jan '16 1:32:35 AM Anddrix
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A lot of this has to do with snobbery. A (somewhat contradictory) perception about science fiction in general is that it is somehow both too [[ViewersAreMorons complex for mainstream audiences with 'simple' tastes]] and [[MortonsFork yet simultaneously]] not [[TrueArt literary and sophisticated]] enough for critics and academics.
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A lot of this has to do with snobbery. A (somewhat contradictory) perception about science fiction in general is that it is somehow both too [[ViewersAreMorons complex for mainstream audiences with 'simple' tastes]] tastes and [[MortonsFork yet simultaneously]] not [[TrueArt literary and sophisticated]] enough for critics and academics.

Some embrace the Ghetto eagerly. Some writers have few pretensions to attaining the TrueArt status their peers yearn for, and gleefully embrace the whole [[TwoFistedTales pulp pot-boiler]] or BMovie aspect of the genre, or the chance to expand on a complex idea to a smaller audience they know will get it. Similarly, some fans eagerly embrace the ghetto and will prefer or, in extreme cases, only engage with media from within it, often dismissing those who engage with media outside of it as [[ViewersAreMorons morons lacking imagination]]. This attitude, of course, tends to overlook the fact that it also takes energy, creativity and imagination to construct a fine non-Science Fiction work, and can be indicative of [[NotSoDifferent a similar kind of snobbery to that which creates the idea of this Ghetto in the first place]]. It's important to remember that the Ghetto isn't bad because "quality" literature or cinema is bad; it's bad because it assumes science fiction, fantasy, horror and romance cannot be quality literature or cinema.
to:
Some embrace the Ghetto eagerly. Some writers have few pretensions to attaining the TrueArt status their peers yearn for, and gleefully embrace the whole [[TwoFistedTales pulp pot-boiler]] or BMovie aspect of the genre, or the chance to expand on a complex idea to a smaller audience they know will get it. Similarly, some fans eagerly embrace the ghetto and will prefer or, in extreme cases, only engage with media from within it, often dismissing those who engage with media outside of it as [[ViewersAreMorons morons lacking imagination]].imagination. This attitude, of course, tends to overlook the fact that it also takes energy, creativity and imagination to construct a fine non-Science Fiction work, and can be indicative of [[NotSoDifferent a similar kind of snobbery to that which creates the idea of this Ghetto in the first place]]. It's important to remember that the Ghetto isn't bad because "quality" literature or cinema is bad; it's bad because it assumes science fiction, fantasy, horror and romance cannot be quality literature or cinema.
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