The existing visual culture of climate change—brimming with depictions of ravaged landscapes, polar bears atop waning ice, and techno-sublime satellite views—adheres largely to an illustrative mode, despite the incongruousness and even muteness of such a manner in the face of newly complex entanglements between the human and nonhuman, not to mention the kind of attritional “slow violence” associated with climate change.8 The genre of science fiction may hold a particular potential to wrangle with our present planetary crisis in its oblique relation to the (nonfictional) world, or its invocation of vantage points tied to imagined other times and places. That being said, science fiction’s indulgence in the spectacle of disaster has a tendency to turn us into spectators, desensitized and deactivated, by inviting “a dispassionate, aesthetic view of destruction and violence—a technological view,” as noted incisively by the cultural critic Susan Sontag in 1965.9 In any case, the prominent resurgence of dystopian, end-of-the-world imagery in both mass culture and the highly compelling work of some contemporary artists and experimental scholars certainly warrants further attention.10

Lukas W