How 'Star Wars' changed science fiction

George Lucas believed that myths were how societies communicated notions of good and evil, and that modern myths were found on movie screens. This deep dive from the Los Angeles Review of Books explores how Lucas' disillusionment with the Vietnam War and his disgust with President Richard Nixon informed some of the themes in "Star Wars."

Dystopian literature is no longer relegated to the page, with innovations like the Tesla Cybertruck and Meta virtual reality headsets mirroring the aesthetics of texts like "The Running Man" and "Neuromancer." In this essay, Casey Michael Henry argues that the images from these works remain while their messages have faded.

In this podcast, Chris Taylor, author of "How 'Star Wars' Conquered the Universe," details the long road—lined with studio rejections, a dismissive crew, glacially slow special effects, and last-minute edits—George Lucas traveled to see "Star Wars" through to its release.

Almost a decade before the arrival of "Star Wars," George Lucas directed "THX 1138," a grim science fiction film about a dystopian future in the vein of George Orwell's "1984." This article from the October 1971 issue of American Cinematographer features a young George Lucas, who developed the film from a short he worked on while a student at the University of Southern California just a few years earlier.

The self-published fan fiction zines of the '60s, '70s, and '80s were obscure enough that they rarely attracted the attention of the copyright holders of their source material. But Lucasfilm, the production company behind the "Star Wars" films, threatened legal action against fans who published X-rated stories and "homosexual expressions of love" featuring its characters.

Although "anti-utopian" stories have always existed, the international conflicts of World War I and World War II inspired some of dystopian literature’s most influential novels, like Yevgeny Zamyatin’s "We," Aldous Huxley’s "Brave New World," and George Orwell’s "1984." In the decades to follow, more writers would follow the example of those early novels, using the dystopian model to critique artificial intelligence, climate change, and more.

The idea for "Star Wars" was initially rejected by studios. It wasn't until "American Graffiti," Lucas' 1973 nostalgic comedy, became an unexpected hit that anyone was willing to produce what Lucas called his "space film."

Joseph Campbell, the literature professor who wrote about the power of mythology, suggested that "Star Wars" was a powerful modern myth that used classic archetypes to communicate a universal message.

Fritz Lang's 1927 epic "Metropolis" set the template for much of the science fiction that followed, establishing themes that would come to define the genre through films like "Star Wars" and novels like "Brave New World." This short documentary from DW digs into the history of the film and its long-lasting impact.

George Lucas licensed the "Star Wars" franchise to Kenner Products, which created small figurines that became wildly popular. By the 1977 Christmas season, they were facing a shortage and sold mail-in rainchecks, effectively allowing customers to purchase figures that weren't yet produced. The strategy worked, portraying the toys as valuable collectibles whose price would appreciate.

The book "Star Wars: From the Adventures of Luke Skywalker" was released in November 1976, six months before the film it was based on hit theaters. By February, the novel had sold out of its initial print run of 125,000 copies and would quickly sell over 3.5 million copies.

The "Star Wars" movies include some of the biggest blockbusters in Hollywood history, with the original film, 1977's "A New Hope," earning a 2,400% profit. Only one of the franchise's movies (2018's "Solo") has lost money at the box office.

The director originally conceived 'Star Wars' as a single long story, but recognized it was far too big for a single movie, so he split each act into its own film. He began with the fourth act, which would later be renamed "A New Hope."

In a bold pre‑release move on July 22, 1976, Lucasfilm set up an eight-foot booth and slideshow at San Diego Comic‑Con, introducing the then‑titled "The Star Wars"—with no premiere buzz, just intrigue among a few hundred early fans.

The "Carrie" and "Mission: Impossible" director was invited by his friend George Lucas to watch an early cut of the first "Star Wars," a draft that lacked many of the special effects that would be added later. De Palma was highly critical, telling Lucas that "The Force" was an awful name for the spiritual power Luke Skywalker eventually comes to embrace.

The 1999 film, and the first piece of the larger Skywalker storyline, was supposed to be a grand event. It did well commercially, but it was mocked by critics and fans, who felt the story, dialogue, and the off-putting comic relief of Jar Jar Binks were a disgrace to the franchise. This NPR retrospective unpacks that reaction, and how much has changed in the decades since.

Yale English professor Joe Cleary argues that dystopian literature’s continued relevance is due to a torrent of additional societal anxieties and that the streaming adaptations of dystopian classics "The Handmaid’s Tale" and "The Man in the High Castle" have expanded the genre’s popularity, introducing new audiences to its tropes.

The first "Star Wars" film made history in 1977 when it surpassed "Jaws," considered the first Hollywood blockbuster, for the highest-grossing movie of all time. But that's just the first in a long line of records that the franchise has broken in the decades since then, with impressive records set by films like "The Force Awakens," "Revenge of the Sith," and "The Last Jedi."

As the internet became more accessible in the '90s, fanfiction writers created websites dedicated to publishing stories about their favorite characters. Still, the hobby was far from mainstream. As one writer from that time said, "Going to Star Trek/comic book conventions in the '80s and '90s was something nerds did. Telling people you read or wrote fan fiction put you in the super geek category."

This list refreshingly starts off with the best first—1968's "2001: A Space Odyssey," Stanley Kubrick's cerebral, futuristic icon. Coming in at 31st is Disney's "Wall-E."

Noted science fiction writer Jeff VanderMeer discusses his 2014 novel "Annihilation," which uses climate change as a dystopian frame. VanderMeer notes that he’s not interested in cynicism, even though that’s how most people view dystopian literature. “I’m not a fan of fiction that’s totally hopeless,” VanderMeer says. “You find ways of documenting the world as it is and you wind up redefining utopia and dystopia.”

George Lucas was frustrated by the degradation of film and began testing digitally shot scenes with 1999's "The Phantom Menace." For the 2002 "Star Wars" film, he decided to go all in with HD digital cameras, leading to brighter pictures, a quicker review process, and a more seamless editing process.

The series’ success reshaped the market for youth fiction. In 1997, about 3,000 young adult titles were published annually. By 2009, that number soared to 30,000 as publishers chased the next major phenomenon.

Before "Jaws," summer was Hollywood’s off-season. Steven Spielberg’s 1975 thriller changed all that, launching the era of the summer blockbuster. From "E.T." to "Jurassic Park," Spielberg’s films redefined how stories were told, how audiences reacted, and how studios marketed.

Cultural critic Neil Postman argued in 1985's "Amusing Ourselves to Death" that mass media had made the dystopia of Huxley's "Brave New World" a reality. In 1992, he published "Technopoly," a wider critique of the utopian visions of technology or, as Postman calls it, "all of the machinery that takes people out of public arenas and keeps them fixed in their homes."

The literary genre has become massively popular in the 2020s, turning a previously marginal form into a mainstream concern. Spufford, a literary novelist who grew up loving books that explored fantastic worlds, argues that fantasy is so popular because it so accurately reflects the real world.

In 2025, the SenLinYu fantasy novel "Alchemised," which began as "Harry Potter" fan fiction, became a bestseller after being traditionally published; its movie rights were sold for over $3M. The mainstreaming of the genre is due to a combination of factors, including publishing's interest in the hard metrics that fan fiction websites provide.

In 2025, readers discovered AI prompts in three writers' texts, with one even instructing the AI bot to make a passage sound more like another romance writer. This Futurism piece digs into the scandals and how it's contributed to readers' skepticism about the genre's more prolific writers.

Ira Levin’s 1967 novel “Rosemary’s Baby” showed publishers horror was a viable commercial genre. That was proven again in 1971, with William Peter Blatty’s “The Exorcist” and again in 1974 with Stephen King’s “Carrie.” The books dealt with societal fears (the occult, drugs, sex) during a time of political upheaval.

The subgenre can come in many forms, but its shared traits are the way it reflects the anxieties and satirizes the utopian thinking of its writers’ societies. One of the earliest examples is Jonathan Swift's "Gulliver's Travels."

This 8-minute video explores how time travel influences the narrative arc of several movies, books and video games, from Harry Potter to A Christmas Carol. (Warning: it contains spoilers!) J.K. Rowling and Charles Dickens set myriad parameters as they’re worldbuilding to avoid paradoxes and create quasi-logical timelines. By drawing diagrams as he’s speaking, the video breaks down how time works in some of popular culture’s most beloved fictional universes.

Ali Hazlewood's "The Love Hypothesis" began as "Star Wars" fan fiction. Cassandra Clare's "Mortal Instruments" series was about "Harry Potter" characters Draco Malfoy and Ginny Weasley. Anna Todd's "After" series was an example of "real life fiction," or fan fiction that is about real people rather than fictional ones (the books were originally based on the boy band One Direction).

George Lucas asked artist Ralph McQuarrie to create reference images to help prospective producers understand his vision for the "Star Wars" universe, and drafted early versions of Darth Vader, Chewbacca, and other characters. You can check out a gallery featuring dozens of the images below.

In the late 2000s, Suzanne Collins’s dystopian "The Hunger Games," a young adult book series where impoverished children are pitted against one another for entertainment, spent over five years on The New York Times bestseller list.

What began as a story written in cafés by an unknown author grew into a global phenomenon—spanning seven books, eight films, theme parks, and video games—reshaping modern popular culture.

Fantasy stories take place in universes where magic exists; science fiction stories take place in universes that are still grounded in the physics of our world. In science fiction, supernatural powers have scientific explanations. Think of “Spiderman”: Peter Parker gains his powers after being bitten by a radioactive spider.

In an academic study, University of Washington professor Cecilia Aragon found that fan fiction often teaches young writers how to craft stronger sentences and convey complex ideas effectively. Much of that comes from the larger fan fiction community, which regularly comments on others' stories, offering kind-hearted constructive criticism in what she calls "distributed mentoring."

When Thomas Kuhn published "The Structure of Scientific Revolutions" in 1962, he described the history of science as comprising periods of "normal science" where these accepted frameworks—paradigms—gradually accumulate anomalies until they cannot describe nature. Revolutionary science, such as the development of a new theory, results in a paradigm shift, another term Kuhn helped popularize.

Technologies developed for space exploration produced lasting spinoff innovations—from camera phones to memory foam—displaying how the space race reshaped everyday life here on Earth

Asimov, the author of the "Foundation" series and a major figure in science fiction, tore Orwell's novel apart in a 1980 review, writing, "This is not science fiction, but a distorted nostalgia for a past that never was."

Comic-Con’s impact on the movie industry may be diminishing. In 2025, major studios—including Marvel, DC, Lucasfilm, Sony, Paramount, Legendary, and Lionsgate—scaled back Comic‑Con participation. They cited high costs, timing that didn’t align with release schedules, and limited marketing impact in a crowded promotional landscape.