Rendezvous with Rama

Hard science fiction is a category of science fiction characterized by an emphasis on scientific or technical detail, or on scientific accuracy, or... on both. The term was first used in print in 1957 by P. Schuyler Miller in a review of John W. Campbell, Jr.'s Islands of Space in Astounding Science Fiction. The complementary term soft science fiction first appeared in the late 1970s. The term is formed by analogy to the popular distinction between the "hard" and "soft" sciences. Neither term is part of a rigorous taxonomy—instead they are approximate ways of characterizing stories that reviewers and commentators have found useful. Today the term "Soft Science Fiction" is often used to refer to science fiction stories which lack a scientific focus or rigorous adherence to known science. The categorization "hard Science Fiction" represents a position on a scale from "softer" to "harder", not a binary classification. The heart of the "hard SF" designation is the relationship of the science content and attitude to the rest of the narrative, and the "hardness" or rigor of the science itself.
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Speculative fiction is an umbrella term encompassing the more fantastical fiction genres, specifically science fiction, fantasy, horror, supernatural... fiction, superhero fiction, utopian and dystopian fiction, apocalyptic and post-apocalyptic fiction, and alternate history in literature as well as related static, motion, and virtual arts. Speculative fiction as a category ranges from ancient works to both cutting edge, paradigm-changing and neotraditional works of the 21st century. Speculative fiction can be recognized in works whose authors' intentions or the social contexts of the versions of stories they portrayed is now known, since ancient Greek dramatists such as Euripides whose play Medea seems to have offended Athenian audiences when he fictionally speculated that shamaness Medea killed her own children instead of their being killed by other Corinthians after her departure, and whose Hippolytus, narratively introduced by Aphrodite, Goddess of Love in person, is suspected to have displeased his contemporary audiences because he portrayed Phaedra as too lusty.
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