Venus in fiction

Fictional representations of Venus have existed since the 19th century. Its impenetrable cloud cover gave science fiction writers free rein to speculate on conditions at its surface; all the more so when early observations showed that not only was it very similar in size to Earth, it possessed a substantial atmosphere. Closer to the Sun than Earth, the planet was frequently depicted as warmer, but still habitable by humans.[1] The genre reached its peak between the 1930s and 1950s, at a time when science had revealed some aspects of Venus, but not yet the harsh reality of its surface conditions.

Swamp

In 1918, chemist and Nobel Prize winner Svante Arrhenius, deciding that Venus' cloud cover was necessarily water, decreed in The Destinies of the Stars that "A very great part of the surface of Venus is no doubt covered with swamps" and compared Venus' humidity to the tropical rain forests of the Congo. Because of what he assumed was constantly uniform climatic conditions all over the planet, the life of Venus lived under very stable conditions and didn't have to adapt to changing environments like life on Earth. As a result of this lack of selection pressure, it would be covered in prehistoric swamps. Venus thus became, until the early 1960s, a place for science fiction writers to place all manner of unusual life forms, from quasi-dinosaurs to intelligent carnivorous plants. Comparisons often referred to Earth in the Carboniferous period.

In the 1930s, Edgar Rice Burroughs wrote the "sword-and-planet" style "Venus series," set on a fictionalized version of Venus known as Amtor. In Olaf Stapledon’s 1930 science fiction novel Last and First Men, humanity is forced to migrate to Venus hundreds of millions of years in the future when astronomical calculations show that the Moon will soon spiral down to crash into Earth. Stapledon describes Venus as being mostly ocean and having fierce tropical storms. The Venus of Robert Heinlein's Future History series and Henry Kuttner's Fury resembled Arrhenius' vision of Venus. Ray Bradbury's short stories "The Long Rain" and "All Summer in a Day" also depicted Venus as a habitable planet with incessant rain. In Germany, the Perry Rhodan novels used the vision of Venus as a jungle world. Works such as C. S. Lewis's 1943 Perelandra and Isaac Asimov's 1954 Lucky Starr and the Oceans of Venus drew from a vision of a Cambrian-like Venus covered by a near-planet-wide ocean filled with exotic aquatic life.[1]

Desert

Descriptions of a hot, humid planet were already considered scientifically doubtful as early as 1922, when Charles Edward St. John and Seth B. Nicholson, failing to detect the spectroscopic signs of oxygen or water in the atmosphere, proposed a dusty, windy desert Venus. The model of a planet covered in clouds of polymeric formaldehyde dust was never as popular as a swamp or jungle, but featured in several notable stories, like Poul Anderson's The Big Rain (1954), and Frederik Pohl and Cyril M. Kornbluth's novel The Space Merchants (1953).

However, the more optimistic notions of Venus were not definitively disproved until the first space probes were sent to Venus. Data from the fly-by of Mariner 2 (December 1962) as well as radio astronomy from the same time pointed to a hot, dry Venus, but as late as 1964, Soviet scientists were still designing Venus probes for the possibility of landing in liquid water.[2] It was not until Venera 4 and Mariner 5 reached Venus (October 18–19, 1967) that it was confirmed beyond doubt that Venus was actually an extremely hot, dry desert with a lot of sulfuric acid in its atmosphere. Stories about wet tropical Venus vanished at that point,[3] except for intentionally nostalgic "retro-sf", a passing which Brian Aldiss and Harry Harrison marked with their 1968 anthology Farewell Fantastic Venus.

As scientific knowledge of Venus advanced, so science fiction authors endeavored to keep pace, particularly by conjecturing human attempts to terraform Venus.[4] For instance James E. Gunn's 1955 novella "The Naked Sky”[5] (retitled the "The Joy Ride") starts on a partial terraformed Venus where the colonists live underground to get away from the still deadly atmosphere. Arthur C. Clarke's 1997 novel 3001: The Final Odyssey, for example, postulates humans lowering Venus's temperature by steering cometary fragments to impact its surface. A terraformed Venus is the setting for a number of diverse works of fiction that have included Star Trek, Exosquad, the German language Mark Brandis series and the manga Venus Wars. In L. Neil Smith's Gallatin Universe novel The Venus Belt, Venus was broken apart by a massive man-made projectile to form a second asteroid belt suitable for commercial exploitation.

Stories set on Venus

The following list divides stories about Venus into those which reflect the older view of Venus, and the more accurate ones reflecting Venus science since the mid-1960s.

"Old Venus"

"New Venus"

Other fictional references to Venus

Comics and manga

Film and television

Animated

Games

Venusians

Main article: Venusians

The term Venusian has been used for hypothetical and fictional inhabitants of Venus, whether located on the planet or found elsewhere.

See also

References

  1. 1 2 Miller, Ron (2003), Venus, Twenty-First Century Books, p. 12, ISBN 0-7613-2359-7
  2. Inventing The Interplanetary Probe
  3. Dick, Steven (2001), Life on Other Worlds: The 20th-Century Extraterrestrial Life Debate, Cambridge University Press, p. 43, ISBN 0-521-79912-0
  4. Seed, David (2005), A Companion to Science Fiction, Blackwell Publishing, pp. 134–135, ISBN 1-4051-1218-2
  5. Startling Stories Fll 1955
  6. SF&F encyclopedia (V-V)
  7. Rockets Into Space
  8. Radio Free Venus - Ralph Milne Farley's Radio Series
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