The book that inspired the film BLADE RUNNER comes to comics! Graphically interpreting the full text of Philip K. Dick’s groundbreaking sci-fi masterpiece DO ANDROIDS DREAM OF ELECTRIC SHEEP? THE BOOK THAT INSPIRED THE FILM BLADE RUNNER COMES TO COMICS! Worldwide best-selling sci-fi writer Philip K. Dick's award-winning DO ANDROIDS DREAM OF ELECTRIC SHEEP? has been called "a masterpiece ahead of its time, even today" and served as the basis for the film BLADE RUNNER. BOOM! Studios is honored to present the complete novel transplanted into the comic book medium, mixing all new panel-to-panel continuity with the actual text from the novel in an innovative, ground-breaking 24-issue maxi-series experiment. San Francisco lies under a cloud of radioactive dust. The World War has killed millions, driving entire species to extinction and sending mankind off-planet. Those who remained coveted any living creature, and for people who couldn't afford one, companies built incredibly realistic fakes: horses, birds, cats, sheep... even humans. Rick Deckard is an officially sanctioned bounty hunter tasked to find six rogue androids -- they're machines, but look, sound, and think like humans -- clever, and most of all, dangerous humans. Rick Deckard, Pris, The Voight-Kampff Test, Nexus 6 androids, the Tyrell Corporation: join us for the publishing event of the year! "After I finished reading the screenplay for BLADE RUNNER, I got the novel out and looked through it. The two reinforce each other, so that someone who started with the novel would enjoy the movie and someone who started with the movie would enjoy the novel." -- Philip K. Dick

As the first essay collection dedicated to Philip K. Dick in two decades, this volume breaks new ground in science fiction scholarship and brings innovative critical perspectives to the study of one of the twentieth century's most influential authors.

Critique of Fantasy, Vol. 1: Between a Crypt and a Date Mark addresses both the style or genre of fantasy and the mental faculty, long the hot property of philosophical ethics. Freud passed it along in his 1907 essay on the poetics of daydreaming when he addressed omnipotent wish fantasy as the source and resource of the aspirations and resolutions of art, which, however, the artwork can never look back at or acknowledge. By grounding his genre in the one fantasy that is true, the Gospel, J.R.R. Tolkien obviated and made obvious the ethical mandate of fantasy's restraining order.With George Lucas's Star Wars we entered the borderlands of the fantasy and science fiction genres, a zone resulting from and staggering a contest, which Tolkien inaugurated in the 1930s. The history of this contested borderland marks changes that arose in expectation of what the new media held in store, changes realized (but outside the box of what had been projected) upon the arrival of the unanticipated digital relation, which at last seemed to award the fantasy genre the contest prize.Freud's notion of the Zeitmarke (datemark), the indelible impress of the present moment that triggered the daydream that denies it, already introduced the import of fantasy's historicization. Science fiction won a second prize that keeps it in the running. No longer bound to projecting the future, the former calling which in light of digitization it flunked, science fiction becomes allegorical and reading in the ruins of its failed predictions illuminates all the date marks and crypts hiding out in the borderlands it traverses with fantasy. To motivate the import of an evolving science fiction genre, Critique of Fantasy makes Gotthard Günther's reflections in the 1950s on American science fiction - as heralding a new metaphysics and a new planetary going on interstellar civilization - a mainstay of its cultural anthropology with B-genres.===After thirty years teaching at the University of California, Santa Barbara, in 2011 Laurence A. Rickels accepted a professorship in art and theory at the Staatliche Akademie der Bildenden Künste, Karlsruhe and taught there as successor to Klaus Theweleit until 2017. During 2018 Rickels was Eberhard Berent Visiting Professor and Distinguished Writer at New York University, and he continues to offer seminars in media and philosophy at the European Graduate School (Saas Fee, Switzerland and Malta) where he holds the Sigmund Freud Chair. Rickels is the author of Aberrations of Mourning (Minnesota, 1988), The Case of California (Minnesota, 1991), The Vampire Lectures (Minnesota, 1999), Nazi Psychoanalysis (Minnesota, 2002), The Devil Notebooks (Minnesota, 2008), Ulrike Ottinger: The Autobiography of Art Cinema (Minnesota, 2008), I Think I Am: Philip K. Dick (Minnesota, 2010), SPECTRE (Anti-Oedipus, 2013), Germany: A Science Fiction (Anti-Oedipus, 2014), and The Psycho Records (Columbia, 2016).

More than 2,000 questions with short answers are each accompanied by a related factoid in this excellent supplement to trivia board games. Answers are hidden from view while the questions are being read. Updates and corrections will be posted to the triviawhys.com web site.

Since its release in 1982, Ridley Scott's Blade Runner, based on Philip K. Dick's novel Do Androids Dream of Electric Sheep?, has remained a cult classic through its depiction of a futuristic Los Angeles; its complex, enigmatic plot; and its underlying questions about the nature of human identity. The Blade Runner Experience: The Legacy of a Science Fiction Classic examines the film in a broad context, examining its relationship to the original novel, the PC game, the series of sequels, and the many films influenced by its style and themes. It investigates Blade Runner online fandom and asks how the film's future city compares to the present-day Los Angeles, and it revisits the film to pose surprising new questions about its characters and their world.

Examines the first eight cinematic adaptations of Dick's fiction in light of their literary sources.

This book presents an extended account of the language of dystopia, exploring the creativity and style of dystopian narratives and mapping the development of the genre from its early origins through to contemporary practice. Drawing upon stylistic, cognitive-poetic and narratological approaches, the work proposes a stylistic profile of dystopia, arguing for a reader-led discussion of genre that takes into account reader subjectivity and personal conceptualisations of prototypicality. In examining and identifying those aspects of language that characterise dystopian narratives and the experience of reading dystopian fictions, the work discusses in particular the manipulation and construction of dystopian languages, the conceptualisation of dystopian worlds, the reading of dystopian minds, the projection of dystopian ethics, the unreliability of dystopian refraction, and the evolution and hybridity of the dystopian genre.