A gunslinging white astronaut clad in black suit; on the background is a space settlement.
This was the future we were promised

Then and Campbell

Science fiction was originally a way to explain science. (Especially in the early 20s where most of the OC science fiction stories in Amazing Stories were instructional stories, not focusing on the action.) However, in the late 1930s through the first half of the Cold War, science fiction became heavily White--this "White science fiction" idea was highly propagated by John W. Campbell, who was editor of Astounding (later Analog) since the late 30s until his death in 1971.

I should call Campbell the true father of modern science fiction--he turned the science fiction story concept to become more like a "story that could be perceived as general fiction in a future"; all Big Three science fiction authors (Isaac Asimov, Robert A. Heinlein, and SIR Arthur C. Clarke) had submitted at least two science fiction stories to Astounding/Analog during their lives; and two of them (Asimov and Heinlein) were even mentored by Campbell, further to the point that Campbell told (((Asimov))) that all human races are not equal.

I’m not interested in victims. I’m interested in heroes. I have to be. Science fiction is a problem-solving medium. Man is a curious animal who wants to know how things work and, given enough time, can find out . . . If science fiction doesn’t deal with success or the road to success, then it isn’t science fiction at all. Mainstream literature is about failure, a literature of defeat. Science fiction is challenge and discovery.

John W. Campbell to Barry Malzberg, who demanded Campbell to explore the science fiction of victimization

He even often required any stories concerning alien contact with humans to have a "Humanity, Fuck Yeah!" element--even though some of the stories depicted humans lost:

  • SIR Arthur's "Rescue Party" (one of his first published work on Astounding) concerns about a galactic federation trying to rescue Terrans as our sun was going nova, but apparently a detachment from that federation (the titular Rescue Party, while not described as such in the story) found out that humans went from radio to space travel in just 200 years--in a universe where the average species took millennia to develop from radio to space travel--and were colonizing other planets as well!,
  • Fredric Brown's "Arena" (famously adapted into an episode of Star Trek: The Original Series) concerns about a war against sentient spheres, and one of the combatants from each species (humans and spheres) got transported to a circular area, set up by an "evolved intelligence" for a small champion warfare between both species--the winner would have his species win the war too (the enemy species would suddenly poof!-ed out of existence). You might already understand who would win in this small combat...,
  • Christopher Anvil's "Pandora's Planet": the Centran aliens successfully conquered Earth, but later they found out that humans are special and useful for their expansion,
  • Or in Piers Anthony's "The Alien Rulers" where seems like we lost and got conquered by blue skinned Kazos but later we found out that we also conquered the Kazos too in their homeworld.
  • (All the stories above were published in Astounding/Analog when Campbell was still editor.)

...as Campbell's main vision was that readers would be nudged into becoming multitask-able "competent man" ("Specialization is for insects," Lazarus Long wrote in Heinlein's Time Enough for Love), which would evolve into superior ubermensch...

Today and SJWs

Now, it's a vehicle for the leftists to propagate their ideology of social justice, political correctness, and antifascism. You see, Michael Moorcock, that person who essentially created New Wave science fiction, had declared that many scifi are (as I paraphrase) "reactionary, fascist, crap". And this Moorcockian SJWism is even clearer in filmed media--why we saw negatively-depicted, strawman fascist society allegories more in filmed media (both in television and film), like the Martian Congressional Republic of The Expanse (the television series) or CLU 2's Grid in Tron: Legacy or the VERS Empire in Aldnoah.Zero? I'm not even counting the Galactic Empire of Star Wars, as diving deeper to the SW verse would redpill you about the truth about the Jedi Order--in other words, Anakin was right...

And then there's another problem ruining today's science fiction: people sometimes can't distinguish the author from the work. Take these two people, for example: Orson Scott Card and Dan Simmons. At least one of their books won the Hugo Award for Best Novel (the former wrote Ender's Game, the latter wrote Hyperion et seq)--yet they sometimes are condemned just because they propagated or believed in politically incorrect ideologies:

  • Card tells a story about Terrans destroying a race of hive mind Formics/Buggers just because they attacked one of our crafts as their way to say "hello, we came in peace" (and they mean it!) but then the war against Buggers ended, we tried to gave them a home, but then XENOCIDE!--but, as a Mormon, he hold conservative beliefs about society, even headed the National Organization for Marriage (famous for their anti-LGBTQ+ and anti-homo-marriage stance) between 2008 and 2013, and even called Obama, "by character and preference, a dictator"...
  • Dan Simmons went 180 degrees on his political stance after 9/11, years after completing the Hyperion Cantos. This is cemented especially after he wrote Flashback, a techno-thriller about the rise of a caliphate in American soil, and then he mocked Greta "How dare you" Thurnberg (but he's pretty much a neocon and highly suspected to be as Zionist as Rupert Murdoch).

Also of note: Faux White Guy Theodore "Vox Day" Beale (he has Native American blood) was expelled from the Science Fiction and Fantasy Writers of America (SFWA)--even though he was once nominated to be President of the SFWA and divide SFWA's Nebula Awards into two sub-Awards: one for scifi, and another for fantasy--mainly because he opposed the rising tide of SJWism in the SFWA and launched the Rabid Puppies campaign (the more #GamerGate-esque counterpart to Larry Correia's Sad Puppies campaign launched at the same time) to shortlist more less-literary and more-conservative SF works into the Hugo Awards, SF's traditionally most prestige awards... (this was then retold in his infamous book, SJWs Always Lie)

Note that Liu Cixin's The Three-Body Problem (tr. Ken Liu), the first of an alien invasion epic trilogy seen from a Marxist Weltanschauung, won the Hugo Award for Best Novel in 2015, the year when Sad and Rabid Puppies de facto emerged (Sad Puppies was launched in 2013 to shortlist Correia's books at first)

The change of time also mark the change of how science fiction depicts the ideal society. Back then, people were highly optimistic that we would have colonized the Solar System in the year 2000. Today? Nah, instead we got the megacorp full dystopia (see: Blade Runner, Charlie Jade) and yet we just predicted that Cyberpunk 2020 would become reality in the near future. I also feel a dystopian ambiance happening in my hometown Jakarta--especially since we Jakartans are NOW under "large-scale social restrictions" due to coronachan, see infographic courtesy of the Jakarta Post on the right

Conclusion: How should we act?

As science fiction increasingly becoming infected with SJWism, we should act--by creating. We should create science fiction that is not infected with SJW elements, like progressivism and so-called "diversity", and share it with the dissident right. Create stories that is politically incorrect, maybe with the HFY elements of old; or movies that have politically incorrect elements. After all, Star Wars's original and prequel trilogies has a subtle message that is politically incorrect. That is, again, Anakin was right.