Why Sci-Fi Keeps Imagining the Subjugation of White People

As much as the genre imagines the future, it also remixes the past—often by envisioning Western-style imperialism visited on the Western world.
Tom Cruise in the 2005 adaptation of War of the Worlds. (Paramount)

Science-fiction "contemplates possible futures." So says a new Smithsonian article, and it doesn't seem like a particularly controversial thesis. As the piece says, sci-fi tries to think about what’s to come for civilization. "The future is a safe, sterile laboratory for trying out ideas in," as Ursula K. Le Guin says.

But it's worth remembering that in sci-fi, the future actually isn't safe or sterile at all. On the contrary, with its alien invasions, evil empires, authoritarian dystopia, and new lands discovered and pacified, the genre can look as much like the past as the future. In particular, sci-fi is often obsessed with colonialism and imperial adventure, the kind that made the British Empire an empire and that still sustains America’s might worldwide.

The link between colonialism and science-fiction is every bit as old as the link between science-fiction and the future. John Rieder in his eye-opening book Colonialism and the Emergence of Science-Fiction notes that most scholars believe that science fiction coalesced "in the period of the most fervid imperialist expansion in the late nineteenth century." Sci-fi "comes into visibility," he argues, "first in those countries most heavily involved in imperialist projects—France and England" and then gradually gains a foothold in Germany and the U.S. as those countries too move to obtain colonies and gain imperial conquests. He adds, "Most important, no informed reader can doubt that allusions to colonial history and situations are ubiquitous features of early science fiction motifs and plots."

The iconic example of colonialism-inspired sci-fi is that most important of sci-fi stories, H.G. Wells's War of the Worlds. As Rieder says, Wells begins his book with an explicit comparison of the Martian invasion to colonial expansion in Tasmania. "The Tasmanians," Wells writes,

in spite of their human likeness, were entirely swept out of existence in a war of extermination waged by European immigrants, in the space of fifty years. Are we such apostles of mercy as to complain if the Martians warred in the same spirit?"

Here the Martian conquest is presented as analogous to, and even as just retribution for, Britain's colonial genocide. As has been visited on them, so shall it be visited on us.

With Wells in mind, it’s easy to see colonial metaphors throughout the sci-fi that followed him. In many cases, as with Wells, these works flip the racial dynamic that characterized the most influential imperialist ventures of the last few centuries. In such stories, sci-fi is about “them” (a non-white, foreign civilization) doing to us (Western, largely white powers) as we did to them. Star Trek: The Wrath of Khan and Into Darkness, for example, imagine a non-white antagonist who preaches the colonial ideology of eugenic culling against the less biologically perfect, Western-ish protagonists.

Even works in which the invaders are white can come off like historical fiction envisioning an inversion of Anglo hegemony. Take Terry Gilliam's film Brazil, about a totalitarian Britain conquered and occupied by Germany, in which native English people are second-class citizens. From Brazil, it's only a brief hop to 1984, which, as I've pointed out here at The Atlantic, can also read as a reverse colonial parable. Rather than seeing the novel as a riff on Hitler and Stalin's brand of totalitarianism, as it’s usually interpreted, you can instead think about it as inspired by the repressive state in which Orwell served—British-controlled Burma.

Even the Terminator films fit pretty easily into a colonial narrative. At first, they may seem far afield from geographic conquest; the plot, after all, hinges on time-traveling robots, not invading aliens. But Rieder points out that for Wells, the War of the Worlds was a battle not only across space, but across time. Wells's Martians, with their giant craniums and atrophied bodies, were meant to be a warning of our own evolutionary future, just as the Tasmanians were generally viewed by Westerners as preserved, primitive living remnants of the evolutionary past. Thus, the computers in Terminator can be seen as not-fully-evolved colonial servants, who eventually evolve into more-advanced colonial masters.

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Noah Berlatsky is a contributing writer for The Atlantic. He edits the online comics-and-culture website The Hooded Utilitarian and is the author of the forthcoming book Wonder Woman: Bondage and Feminism in the Marston/Peter Comics, 1941-1948.

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