Solarpunk Reflections

Le mie idee su storie, politica ed ecologia.

A few weeks ago, I published an article on our literary collective's site with some opinions on Grist's Imagine 2200 Top 12 stories. For those who don't know what that is, it's the biggest/most popular contest for solarpunk and climate fiction stories, with more than 1200 submissions each year.

As such, I expected to read the best authors of the genre grappling with the themes that are key to solarpunk. In this post I try to give a brief overview of each story (with a summary and a personal opinion, so that you can contradict me if I got something wrong!), explain what felt missing, and why I think we need solarpunk authors to try harder and push the boundaries of what we can collectively imagine.

EDIT: After a discussion with Susan Kaye Quinn I want to stress that the intention of this article is NOT to gatekeep solarpunk and try to draw a line between what SHOULD and SHOULDN'T be. After all, there is no big-S Solarpunk that I or Grist or anyone else is a paragon of; Grist's stories explore some angles better than others, and my message is meant for writers of other angles (not only the tech but also the anticapitalism and the collective action ones, and so on) that they're needed just as much.

NOTE: Each Summary section contains SPOILERS, so come here after you've read the anthology yourself if you don't want surprises. Alternatively, send me a DM with instructions to put spoilers on markdown (I have tried a few but none worked).

12 – We Cast Our Eyes to the Unknowable Now

Summary: The MC comes back home from her job at the fast food in a neighborhood where some unspecified disaster left a chasm decades ago and was never repaired. She can’t find her little sister, so she starts looking for her; climbs up to the top of their apartment complex where there’s a rooftop garden. From there, she spots her sister in the chasm. She goes down the chasm and her sister is tending to some native plants. Then they go home together.

Personal opinion: It felt very shallow. It’s very expositive, the solarpunk stuff is just dropped here and there, in handwaved descriptions or characters explaining them flatly to the reader. The little sister has asthma, but it doesn’t matter. The chasm has been there for decades, yet nobody has attempted to repair it. I expected it to be the main element around which the story revolved, but it turned out to be just a static background.

11 – To Rescue a Self

Summary: A climate journalist returns to Lagos after her investigation on a Big Oil project went south. It’s the year 2100 and the city has changed a lot, but she manages to meet her friends (who all work in climate law and ecocide jurisdiction). They try to cheer her up and talk about their project to mix some innovation with tradition. Then she visits a natural reserve, where she chats with some locals and gets a story on how OGM seeds work along native plants. She heads back home and helps her bulimic friend after an episode, she tells him she’s always felt like a failure and they promise each other to get better.

Personal opinion: I can see there was more thought behind this, but it still felt quite disconnected; the hefty length didn’t help. There is nothing very speculative or rooted in future (investigating Big Oil in 2100? Saro Wiwa died in 1995), her highly specialized friends were mostly just chatting and the technology wasn't very imaginative overall. I liked the Nigerian accents in the dialogues, but I expected more from a Nigerian author.

10 – This View From Here

Summary: The MC has fought with her dad and she's now hiding at her grandma's place. Later in the night she bikes home, and in the morning she chats with her dad in front of a coffee, and he cries because he realizes he's putting on her parts of his trauma from the dead mom/wife, and he's afraid of her getting hit by climate disasters. It ends with the MC leaving for the city.

Personal opinion: There are some great dialogues, but this did not feel solarpunk at all. There’s barely any technology involved (the bike was electric!), the climate disasters are all hypothetical or faraway and it’s a very simple family drama that could’ve been set in early 2000s if not for a quick VR mention.

9 – The Ones Left Behind

Summary: The MC owns a silkworm restaurant in PuertoChina, which she inherited from her grandma. The silkworm food provider informs her of an issue with the water harvesting system and that the trees are thirsty. They contact the appointed official and she explains it's just a clogged pipe, nothing major. They find the worker and help him unclog the pipes. The storm comes, but it doesn't damage anything. They head back to the restaurant, where they eat some silkworms. Her friend tells her how all the rich people in New York have left, and they are the ones left behind. She takes him to the silkworm greenhouse and they exchange a kiss.

Personal opinion: The beginning made me think of another family drama with the MC mourning the dead grandma, but I was pleased that the author tried to set up an infrastructural problem. Sadly it wasn't very convincing (a rich-less New York can't repair pipes?) and a problem from the 19th century, rather than 23rd. Well written with fantastic culinary descriptions and smooth dialogues; the title is barely relevant to the story, and the romantic ending was not necessary in my opinion.

8 – The Isle of Beautiful Waters

Summary: A family of Guadeloupean shepherds deals with drought. The MC is taken by his parents to the hidden source where there's still water. After that, they tell legends on the origins of Guadeloupe with the sisters. A notifications informs them that a hurricane is on its way; together they look for their mother but can't find her. The hurricane arrives and the narration becomes mythological, mixing with the legends told by the daughters.

Personal opinion: It was one of the hardest stories to read; there are many Caribbean terms that I couldn't find on the internet, and the accents made the dialogues quite challenging. The prose is very repetitive, most events are lists of actions and I did not understand the chapter division. The ending was cryptic and left me quite unsatisfied.

7 – Tangles in the Weave

Summary: The MC is waiting for a metamorphosis to happen and is very anxious. Other characters who have undergone the metamorphosis (her father, her friends, etc.) give her advice on how to deal with it. Others have different “souls” (monkeys, wolves, octopuses), but she knows she has a blue butterfly, which has gone extinct 200 years prior. She dreams of being a butterfly reincarnating against her will in a person's body. She heads to the House of Butterflies where a woman explains the visions. In another dream, she sees her own city in the future and talks to her inner butterfly. Then she wakes up 10 days later and picks up several new hobbies, finds a boyfriend and kisses him.

Personal opinion: Very dreamlike and personal story. There might have been a gender allegory, but it was either very shallow or I did not catch it. It felt like closer to fantasy, and the solarpunk elements were too few to justify its presence in this ranking.

6 – Plantains in Heaven

Summary: Set in a partially flooded London, the MCs move around in rowboats to take materials from one side of the city to the next. One of the MCs' grandmas is struggling, and she is the designed rower to visit the local church. One of the characters asks for green banana seeds, a plant tied to their Nigerian heritage, to make the grandma happy. The MC accepts, on the condition that he can help raising the plants correctly. Months later, they begin planting the green bananas in rundown and submerged buildings. Safety inspectors are about to find them out, but the MCs manage to escape. The building is declared too risky, but they decide to keep growing the bananas there.

Personal opinion: I found the prose quite challenging, the events trivial and the repeated flashbacks kept interrupting the dialogues; I found it hard to read this story to the end. The MC is often infantilized and this did not help the immersion. I appreciate the attempt to show different kinds of economic relationships between characters and institutions. The second-to-last scene should've been tense, but I felt no urgency at all.

5 – Our Continuity, Each of Us Raindrops

Summary: The MCs wait for a football match to end: one of the players has to hand him a turtle. One of the two is a drone. There's a second drone that seeds clouds, according the a program that's been going on for 320 years and creates a constant rainfall over the whole state of New York. The MC's brother is in Florida, bedridden with a rare disease; the drone serves as his eyes and ears. The two are on the road to recover as many endangered species as possible. The three get to a beach, still chasing the rain-drone, and meet the player's brother who warns them about authorities on their way to catch the brother-drone. He tells the brother to move forward without him, saying he would be safer on his own. Then the brother-drone dives into the clouds to catch the rain-drone.

Personal opinion: Beautiful and deep, although quite intricated at the beginning (it took me a while to tell the brother-drone and the rain-drone apart). This author had fantastic ideas and I related a lot to the two brothers, but also to the football player, who hasn't always been a positive character. The descriptions mix weather, sports and First Nations' culture and I found them impressive. Unfortunately, all the characters were boys and the ending felt incomplete, but I still liked this story the most.

4 – Eulogy to Each and Every End

Summary: Master and apprentice are the town's undertakers and they are tasked with burying a man who died at 118. They sew a special dress with spores so that the corpse decomposes faster, but they need to prepare the decorations so that they reflect the dead's life and deeds. After that they celebrate a town fair where all the walls are repainted and they go see the stars. Six months pass; another townsman dies and the two talk about their insecurities as they prepare his burial suit. After more weeks, an unknown corpse is found by the roadside and they sew her a dress. A year later, the master passes away and the former apprentice's first work as a master is her burial suit.

Personal opinion: Dialogues were quite expositive, but the Brazilian town's atmosphere was delightful. Unfortunately the first half is almost only descriptions, and the first relevant event is described too quickly. I didn't like how the narration is organized (I have no emotional bonds towards the dead, and the information that he was a dear friend of the apprentice is only told way later). The premise and the setting were really creative, but it ended up being another story about insecurities; death and mourning turned out to be secondary, almost part of the background.

3 – Mousedeer Versus the Ghost Ships

Summary: An automated fishing boat enters the MCs' bay, which get in action in order to free the fish and detour it. The story moves on to them playing some tabletop game as they do something else, then work on some plants. They locate another automated machine that steals sand from the bay, but they don't try to stop it right away. Until it topples over, and one of the MCs is lost in the incident; they find her and take her to safety.

Personal opinion: Despite the catchy opening, I kept getting distracted; I found the prose somewhat hostile but I couldn't quite put my finger on the exact reason. I dropped it several times before finishing it. Interesting Southeast Asian setting, but nothing else really struck me. Especially frustrating: the first-person narration with so little said about the narrator.

2 – Last Tuesday For Eternity

Summary: The MC is an android with a wrist malfunction: xe understands that after 130 years the time has come for xe to turn off, even if xe has just fallen in love. Xe and xyr (?) partner see another human/android couple, the second has been repaired many times. The MC reflects on how to tell him about xyr malfunction; eventually xe does, and together they go through all the reparation options; then it is implied that the android won't die but just change. The two head to the burial site, where they choose the plant under which the MC will be buried. Another android unmounts xyr hand, then xyr conscience dissolves.

Personal opinion: Fantastic opening, and the way information is spread out shows that the author has both talent and practice. The android's pronouns were a bit clunky at the beginning, but then I got used to them; other than that, the prose was clear and easy to follow. The android was perhaps too human, but it helped empathize with xyr; some dialogues were a bit too expositive, especially in the second half. I don't think I fully understood the ending.

1 – Meet me Under the Molokhia

Summary: The MC lives in Lebanon, next to the dismissed prototypes of these 'molokhia'. As she wanders through a wood, she has a vision of someone grabbing a snake, perhaps a djinn. Her cousin reaches her, and as they chat on the way home she meets the djinn again, who reveals her name. Two days later, as she's gardening, the djinn appears once more; she takes her to the roof and tells her that her grandparents were wealthy benefactors. Her aunt has seen her with the djinn, so she reveals she too had once fallen in love with a djinn. The two meet again and kiss under the sunset.

Personal opinion: Uninspiring infodump opening; the djinn speaks as if she's of her same age (which is later revealed to be the case, but it severely diminished my sense of wonder), and the flirting starts right off the bat. It felt like a romance story with a few solarpunk details tossed in at the last minute. Personally, this story is very out of place in this contest and I'm surprised it got awarded the first place.

General Conclusions

When I started reading these stories, I expected the best Solarpunk of the year; yet halfway through the anthology I realized that having such an approach would only leave me very disappointed. I had to recalibrate my expectations to a generic clifi that touches far less themes than solarpunk. Stories about technology were a minority, while the bulk consisted in personal or family dramas that, albeit not out of place in solarpunk (they are necessary and valid!), shouldn't be the weight-bearing pillar of every story.

I wanted to read more adventures, more anticapitalism and more imagination on the relationships that we have and will have with technology, nature and the rest of society. 2200 is a long way down the road, and this anthology provided me with very few glimpses of that horizon. It felt myopic, stuck on a present that is understandably terrifying, and unable to really visualize the way past these obstacles. Solarpunk aims to be a telescope, not a mirror.

As a writer of solarpunk myself I'm aware how multi-tiered the challenge is. I know firsthand that imagining a whole society, several communities and characters for every story is a challenge; this is magnified by the youth of the genre, which still lacks clear hieroglyphs (i.e. clear narrative symbols) recognizable from other texts of culture. Even if a writer is able to come up with an approachable, comprehensible and concise vision, compressing it to a short-story format seems next to impossible.

There are some projects aiming to make this process easier, like the Solarpunk Prompts Podcast podcast proposing a series of pre-researched dramatic situations, communities facing a problem, ready to be fleshed out by a writer.

Hopefully these insights will help you shape the telescope you need.

  • Andrea “Clockwork” Barresi

— [🇪🇺 HERE, ITALIANO SOTTO] —

Between last year's summer and autumn there has been a raging debate on the state of Italian scifi. I haven't closely followed all the twists and turns by editors and authors who took part in the debate, but from what I understood the situation appears to be the following: Italian scifi sucks and can't sell.

I have no business confirming or debunking these claims here. What I care about, as a scientist and especially as a storyteller, is to set up a discussion not on why scifi can't sell but rather on what we want to tell with our stories, if we still have stuff to tell.

Recently I tried picking up some stories written by fellow Italians in the last 5/6 years, in an attempt to get a birdview of the current landscape of ideas, themes and questions that authors of my generation are exploring, together with works by last century's luminaries.

It's a long endeavour that will surely take me months in order to give fruit and allow me to draw meaningful insights, but what's important is that the first I read was so terrible that it pushed me to extend a reflection that I have been mulling over for months. I will try to elaborate in this article, in the hope of involving more scifi and solarpunk authors in the discussion. It's not about Italians or Italian scifi; it's about what we're writing and what we want to write. But before starting, allow me to begin with a necessary premise.

What is 'Technology'?

Ask this question to ten people and you'll get a hundred different answers. The one I find the most practical is by @alxd@writing.exchange">Paweł “ALXD” Ngei, who defines it as “crystallized community” (you can read his complete argument here). This is the framework I've been trying to use for the last few months of storytelling. I invite you to read his article too before continuing, since I owe this concept many of my current mental maps (with the only addition that architecture and laws are other possible forms of crystallized community).

Yet not all technologies, be they positive or interesting as they might, are enough to tell a story. A couple of examples can be electric cars (which despite all possible benefits, are fundamentally still cars), the definitive cure to cancer (which would be a phenomenal achievement for people's wellbeing, but doesn't help us tell stories we can't already tell today; try coming up with a plot starting from this technology: I tried for a long time and I couldn't!) or, taking an example from the story mentioned above, bikes made of vegetal components such as bamboo: very cool idea, but what consequences or plot beats does it lead to?

As a physicist, I tend to label these technologies, although “innovative”, with low narrative potential: they allow us to tell few complete and engaging stories that push the reader to ask themself ethical and moral questions on such technologies (which is essentially the primary purpose of speculative fiction), and offer little else than some seconds of marvel.

So the only remaining option is to feature such technologies as accessories, secondary to the plot and not central to it. A background element that despite being useful or imaginative has limited interactions with characters or events, because the possibilities it offers are, indeed, limited. This approach, however, fumbles terribly in written form (in my opinion!) while being very successful in audiovisual media: notable examples are Rey Skywalker's quickbread or @the_lemonaut@mastodon.art/113522486118401506">Lemonaut's detailed interiors.

We writers don't work with pictures; or actually: we do, but in a subtler way, less straightforward. Showing an element (technological or not) without it being relevant to the plot makes it less impactful, almost cumbersome. Which is Chekhov's old adage:

“If in the first act you have hung a pistol on the wall, then in the following one it should be fired. Otherwise don't put it there.”

Allow me to elaborate further. A good story (be it scifi, cyberpunk or solarpunk) has to feature a technology whose consequences are varied, unforeseeable and MEANINGFUL on society and/or people; something that can be used (and mis-used!) to different ends, that each character can adapt to their purposes and that has different applications in different contexts. Having an interesting or speculative element and leaving it on the background is not enough; it has to be explored in multiple possible directions, or at least those that feel narratively more powerful.

Taking once again an example from the same story as above, I felt the indigenous internet bubble was a huge wasted opportunity: it's mentioned in a paragraph and then never used again by any character for the entirety of the story. Why not follow this idea through and tell how this is used by the forest's inhabitants, how it's maintained and which problems did it cause that they had to solve?

Examples of this kind of technologies, which I think should be called “transformative”, are bacteria cultures that can decompose plastic polymers, the interpretation of “mind uploading” in Cory Doctorow's Walkaway and the concept of generation ship explored by many authors (Aurora by Kim Stanley Robinson and Paradises Lost by Ursula LeGuin are the two that inspired me the most as I developed Simulacra Navigans). The most powerful ideas often inspire multiple authors, because they offer so many possible directions to explore that a single author can hardly notice or realize all of them on their own.

I believe that we authors should reflect on which aspects shine the best in a story told through pages rather than screens, and as a consequence work on the relationships, consequences and emotions that these technologies bring about in stories. These are elements that a transformative technology touches through the interactions of the characters with each other, with the technology itself and with society as a whole (ideally with ecosystems as well, in the case of solarpunk).

In this sense, technology works (from a narrative standpoint) at the same time as the engine (meaning that it imposes a progression to the story, separating the before from the after; think about a sheet of paper that by using scissors becomes a star shape) and as the connector (the person or people that made use of the tool and the purpose for which they did that).

Following a discussion with ALXD, I quote his message on the topic:

“[...] Many sci-fi writers fetishize the technology for either its aesthetics or direct consequences, while good sci-fi writers see it as a pretext to analyze the bigger issues, the societies and philosophies.”

Power in Limits

Now I'd like to venture onto a more daring speculation, since I haven't yet read any such formulation of this theme in the framing I'm about to present. I hope it can still inspire a discussion on how we approach technologies in our stories and how can we come up with truly transformative ones, able to uphold a complete plot and that challenge both the reader and the current zeitgeist at once (which is the neoliberal and hyperfinancial status quo from the Silicon Valley). In this I include technologies that I usually define as “social”, such as assemblies, collective decisional methods, variants of democracy and, why not, hierarchies and institutional structures.

Those of you who read and especially write fantasy might already know the popular Sanderson's Three Laws of Magic, which I list here since they're probably less known than Chekhov's Gun:

  • An author's ability to solve conflict with magic is directly proportional to how well the reader understands said magic.
  • Weaknesses, limits and costs are more interesting than powers.
  • The author should expand on what is already a part of the magic system before something entirely new is added, as this may otherwise entirely change how the magic system fits into the fictional world.

Clearly, scifi writers don't care much about magic and magic systems (please don't make anime books, please. I beg you), but if we add the Third Law by the renowned Arthur Clarke:

“Any sufficiently advanced technology is indistinguishable from magic”

...then we can replace “magic” with “technology” in the Laws above. Therefore we obtain that:

  • An author's ability to solve conflict with technology is directly proportional to how well the reader understands said technology.
  • Weaknesses, limits and costs of technology are more interesting than the possibilities it offers.
  • The author should expand on what is already a part of the technology system before something entirely new is added, as this may otherwise entirely change how the magic system fits into the fictional world.

I believe that nowadays these three formulations can be crucial to develop ideas and technologies that are really rooted in the world of tomorrow, in the problems we are facing right now and those we will face in the future, and in their solutions too.

To you authors and readers I offer these reflections; discuss them, criticize them, let's talk about them. None of this is easy and I don't mean to lecture you from the vantage point of experience or the arrogance of the skilled (even though I am happy, in hindsight, of the [Tunnel Protocol I used in Simulacra]https://clockwooork.github.io/cyclica.html#promise) checking many of the boxes outlined here), but with the determination of who wants to learn how to do it consistently, and possibly not alone. The necessary requirement to develop these ideas is to communicate them and discuss them, compare them and hone them until they become our prime narrative tools and we're able to once again tell a future that is really ours.


— 🇮🇹 Narrare la Tecnologia —

Tra l'estate e l'autunno di quest'anno è imperversato un dibattito sullo stato della fantascienza italiana; non ho seguito tutti i botta e risposta di editori e autori coinvolti, ma da quello che ho captato la situazione pare essere questa: la fantascienza italiana fa schifo e non vende.

Non ho intenzione di confermare o smentire queste illazioni; se vi interessa il drama potete sguazzarci su YouTube tra le interviste a Franco Forte e le relative risposte. Ciò che a me interessa, da scienziato e soprattutto da scrittore, è instaurare un dibattito non sul perché la fantascienza non venda ma su cosa vogliamo raccontare con le nostre storie, se abbiamo ancora qualcosa da raccontare.

Di recente ho dunque provato a raccogliere qua e là alcuni racconti lunghi italiani, scritti negli ultimi 5/6 anni, nel tentativo di mappare lo stato attuale delle idee, le direzioni e le domande che gli autori della mia generazione si stanno ponendo, insieme ad alcuni lavori dei luminari del secolo scorso (ispirato da questo articolo di Franco Ricciardiello su Lino Aldani).

È un lavoro lungo che mi prenderà qualche mese per essere elaborato e per formulare conclusioni rilevanti, ma vi basti sapere che il primo (che non nominerò qui, ma recensirò altrove) è stato talmente deludente che mi ha spinto a una riflessione di cui avevo da tempo bisogno. Proverò a elaborare in questo articolo, nella speranza di coinvolgere altri autori di fantascienza nel discutere di cosa scrivono e di cosa vogliono scrivere, ma concedetemi una premessa necessaria dalla quale questa riflessione ha origine.

Cos'è la Tecnologia?

Chiedete a dieci persone e otterrete cento risposte diverse. Quella che trovo più proficua è quella di @alxd@writing.exchange">Paweł “ALXD” Ngei, che la definisce come “cristallizzazione di una comunità” (potete leggere per esteso i suoi pensieri qui), ed è in questo framework che sto cercando di ragionare in questi ultimi mesi. Vi invito a leggere anche il suo articolo prima di continuare, poiché devo molte delle mie attuali mappe mentali a questo concetto (con l'unica aggiunta che anche l'architettura e le leggi sono possibili forme di comunità cristallizzata).

Eppure non tutte le tecnologie, per quanto positive o interessanti, sono sufficienti a raccontare una storia; un paio di esempi possono essere le macchine elettriche (nonostante i potenziali benefici, sono fondamentalmente sempre macchine), la cura definitiva del cancro (che sarebbe un traguardo fenomenale per il benessere delle persone, ma che non ci aiuta a raccontare storie che non possiamo già raccontare oggi. Provate a inventarvi una storia a partire da questa tecnologia; io pur avendoci pensato a lungo non riesco!) o, prendendo un esempio dal racconto lungo menzionato sopra, bici fatte con componenti vegetali (tipo bambù); idea fighissima, ma quali conseguenze o colpi di scena può offrire?

In quanto fisico, mi viene immediato definire queste tecnologie, se pur “innovative”, a basso potenziale narrativo: ovvero che permettono di raccontare poche storie complete e avvincenti e che spronino il lettore a porsi domande morali ed etiche su tali tecnologie (che poi è lo scopo primo della fantascienza) oltre che a meravigliarlo per una manciata di secondi.

Quindi l'unica opzione che rimane è far apparire tali tecnologie come accessorie, secondarie alla trama anziché come colonna portante; un “elemento sullo sfondo” che pur essendo utile o immaginifico ha interazioni ridotte con i personaggi o gli eventi, perché le possibilità che offre sono, appunto, ridotte. Questa tecnica però (a mio parere!) riesce malissimo in forma testuale, ed è molto più efficace in media audiovisivi; esempi notevoli sono il pane rapido di Rey Skywalker o i @the_lemonaut@mastodon.art/113522486118401506">dettagliati interni di Lemonaut.

Noi scrittori non lavoriamo per immagini; o meglio, lo facciamo ma in modo più sottile, meno diretto. Mostrare un elemento (tecnologico o meno) senza che questo sia rilevante alla storia lo rende meno d'impatto, quasi ingombrante; che poi è la massima del buon vecchio Chekhov:

“Se nel primo atto c'è una pistola appesa al muro, allora nell'atto seguente deve fare fuoco. Altrimenti non mettetela.”

Approfondisco questo passaggio: in pratica, una buona storia (di fantascienza, ma anche cyberpunk o solarpunk) deve mettere al centro una tecnologia che abbia conseguenze varie, imprevedibili e soprattutto SIGNIFICATIVE sulla società e/o sulle persone; qualcosa che possa essere usato (e mal-usato!) a scopi diversi, che ogni personaggio può adattare ai propri scopi e che abbia applicazioni diverse in contesti diversi. Non basta inserire un elemento interessante o immaginifico e lasciarlo lì sullo sfondo; va approfondito ed esplorato in ogni possibile direzione, o almeno in quelle che ci sembrano narrativamente più potenti.

Sempre prendendo esempio dal racconto di cui sopra, è stata una grandissima opportunità mancata la bolla internet degli indigeni, che però viene liquidata in tre righe e non viene più usata da alcun personaggio per tutto il resto della storia. Perché non seguire quest'idea fino in fondo e raccontare come viene usata dagli abitanti della foresta, come viene mantenuta e quali sono stati i problemi che ha causato e che hanno dovuto risolvere?

Esempio di questo tipo di tecnologie, che mi sento di chiamare “trasformative”, sono colture di batteri in grado di decomporre i polimeri plastici, l'interpretazione di “mind uploading” di Cory Doctorow in Walkaway e il concetto di nave generazionale esplorato da vari autori (Aurora di Kim Stanley Robinson e Paradises Lost di Ursula LeGuin sono i due che mi hanno ispirato di più nella scrittura di Simulacra Navigans). Le idee più potenti ispirano una moltitudine di autori, perché offrono così tante direzioni di esplorazione che un autore solo difficilmente può individuarle e realizzarle tutte.

Credo che noi scrittori dovremmo riflettere su quali aspetti si prestano meglio a una storia raccontata su pagina piuttosto che su schermo, e dunque lavorare su relazioni, conseguenze ed emozioni della tecnologia che appare nelle nostre storie. Questi sono elementi che una tecnologia trasformativa tocca attraverso le interazioni dei personaggi tra di loro, con la tecnologia stessa e con la società tutta (idealmente anche con l'ambiente naturale, nel caso del solarpunk).

In questo senso la tecnologia funziona, in senso puramente narrativo, contemporaneamente da motore (nel senso che instilla una progressione nella storia separando un prima e un dopo; pensate a un foglio di carta che grazie all'uso delle forbici diventa una stella) e da connettore (la persona o le persone che hanno operato lo strumento e lo scopo per cui lo hanno fatto).

EDIT: In seguito a una discussione con ALXD, riporto una sua citazione in merito:

“Molti autori di fantascienza feticizzano la tecnologia per l'atmosfera che crea o per le conseguenze dirette su chi la usa. I grandi autori la usano come scusa per analizzare problemi di portata più grande, come le società e le ideologie del mondo in cui vengono sviluppate.”

Potere nei Limiti

Mi lancio ora in una speculazione più azzardata, poiché non ho ancora letto di nessuna formulazione del tema nei termini che seguono. Spero comunque che possa stimolare una discussione su come ci approcciamo alle tecnologie nella narrativa e su come possiamo inventarne di veramente trasformative, in grado di sorreggere una trama completa e che sfidino contemporaneamente il lettore e lo zeitgeist dei nostri giorni (ovvero lo status quo neoliberale e iperfinanzializzato della Silicon Valley). In questo includo anche le tecnologie che tendo a definire “sociali”, come ad esempio assemblee, metodi decisionali collettivi, varianti della democrazia e, perché no, gerarchie e strutture istituzionali.

Chi di voi legge e soprattutto scrive anche fantasy conoscerà le famosissime Leggi della Magia di Sanderson, che elenco di seguito in quanto comunque meno note della Pistola di Chekhov:

  • La capacità di un autore di risolvere un conflitto usando la magia è direttamente proporzionale alla comprensione di tale magia da parte del lettore
  • Le debolezze, i limiti e i costi della magia sono più interessanti dei poteri
  • L'autore dovrebbe approfondire ciò che fa già parte del sistema magico prima di introdurre nuovi elementi, in quanto l'aggiunta potrebbe radicalmente cambiare come tale sistema interagisce col resto del mondo

Chiaramente chi scrive fantascienza non si interessa di magia e sistemi magici, ma aggiungendo la Terza Legge del molto più noto Arthur Clarke:

“Ogni tecnologia sufficientemente avanzata è indistinguibile dalla magia”

...possiamo sostituire “magia” con “tecnologia” nelle Leggi di cui sopra. Otteniamo per cui che:

  • La capacità di un autore di risolvere un conflitto usando la tecnologia è direttamente proporzionale alla comprensione di tale tecnologia da parte del lettore
  • Le debolezze, i limiti e i costi della tecnologia sono più interessanti delle possibilità che offre
  • L'autore dovrebbe approfondire ciò che fa già parte del sistema tecnologico prima di introdurre nuovi elementi, in quanto l'aggiunta potrebbe radicalmente cambiare come tale sistema interagisce col resto del mondo

Credo che nel panorama odierno queste tre formulazioni possano esserci più utili per sviluppare idee e tecnologie che siano veramente radicate nel mondo di domani, nei problemi che affrontiamo e affronteremo, con le relative soluzioni.

A voi autori e lettori lancio questi spunti; discuteteli, criticateli, parliamone. Nulla di questo è facile e non intendo parlare con l'esperienza o l'arroganza di chi sa già fare tutto questo (anche se rimango fiero di come, a posteriori, il Protocollo Tunnel che ho inventato per Simulacra ricalchi molti degli aspetti che ho descritto qui), ma con la determinazione di chi vuole imparare a farlo consistentemente, e possibilmente non da solo. Il requisito necessario per sviluppare queste idee è comunicarle e discuterle, confrontarle e limarle finché non diventeranno i nostri strumenti narrativi di punta e potremo di nuovo raccontare un futuro che sia davvero nostro.

  • Andrea “Clockwork” Barresi

Il worldbuidling è una parte del processo creativo, a mio avviso centrale nella costruzione di un universo narrativo fantastico, il cui scopo è quello di costruire il mondo in cui una data storia si svolgerà. Credo che questa fase di strutturazione del mondo sia generalmente trattata in modo superficiale, soprattutto nelle opere fantasy di autori nostrani. Questo post ha come obiettivo quello di creare un discorso su questo processo creativo, e come parte di questo discorso voglio proporre un termine a sé stante, per dare sostanza a un atto di creazione che, quando anche esiste, è sempre riferito ad autori d’oltremare (Sanderson, Tolkien, Paolini, Herbert). Tale termine è cosmopoiesi, composto da cosmos (mondo, universo) e poiein (fare, creare).

La parola worldbuilding, come avrete subito pensato dopo aver letto questo neologismo, è intuitiva: letteralmente significa “costruzione del mondo” e indica quel momento (generalmente precedente alla stesura di una storia) in cui vengono definite le caratteristiche geografiche, socioeconomiche e storiche dell’ambientazione in cui la storia si svolge. Il primo a compiere tale sforzo fu, come sappiamo tutti noi lettori di fantasy, Tolkien con la sua Arda, universo ben più esteso della Terra di Mezzo in cui si svolge la sua opera più nota. Eppure Tolkien non parlò mai di worldbuilding in sé, ma piuttosto di mitopoiesi, ovvero la creazione di miti, leggende e storie (narrate nel Silmarillion) che fanno da impalcatura e sfondo culturale al Signore degli Anelli. Ancora prima di lui, lo scozzese George MacDonald fu il primo a sperimentare la creazione sistematica di mondi e popoli già a fine Ottocento, influenzando Tolkien, Lewis e molti altri autori del fantastico del Novecento.

Elias Lönnrot, autore del poema epico finlandese Kalevala, viaggiò per vent’anni nell’entroterra finlandese, raccogliendo storie, canzoni e leggende dei contadini locali per “raccontare un mondo di magia e mistero, un’epoca eroica che potrebbe non essere mai esistita in quell’esatta forma, ma che nonostante ciò infiammò la Finlandia di un senso di valore a sé stante.” Tolkien, nelle sue opere, intendeva inventare sia i popoli che raccontano tali leggende, sia i cantastorie che vagano per le loro terre raccogliendo tali storie, nella speranza di replicare tale impresa narrativa e costruire un’epica anglosassone con radici più profonde del ciclo arturiano.

Questi miti a loro volta riguardano l’origine dell’universo in cui i personaggi vivono; sono storie create sì dall’autore che concepisce quell’universo, ma anche dai popoli primigeni che cercano di spiegarne l’origine. È pertanto una cosmogonia, una collezione di miti tesi a razionalizzare l’esistenza del mondo e dei suoi elementi da parte di chi lo abita.

Pertanto l’atto cosmopoietico dell’autore che costruisce un mondo è una combinazione di mitopoiesi (creazione di miti) e cosmogonie (miti che motivano l’origine dell’universo e dei suoi elementi). Se vogliamo, è in potenza un processo più completo e profondo del worldbuilding come inteso dai lettori di fantasy, in quanto include non solo le caratteristiche del mondo e di alcuni popoli, ma anche la consapevolezza che questi i personaggi a loro volta hanno verso di esse. È un livello metanarrativo, costituito da personaggi che si meravigliano del mondo esattamente come l'autore, e facendo ciò aggiungono una dimensione all’universo che l’autore intende raccontare. L’autore crea i popoli e si lascia affiancare da essi nel raccontare il proprio mondo, in un processo interattivo e dinamico che trascende la semplice fantasia. Dopotutto, se i personaggi di Tolkien parlano dei miti perché ci credono, allora un cosmopoieta moderno può avere personaggi che parlano del proprio mondo perché lo amano.

Siete disposti a diventare cosmopoieti?

  • Andrea “Clockwork” Barresi

— [🇬🇧 ENGLISH BELOW] —

Oggi un amico mi ha chiesto se in Europa, e nello specifico nell'Unione Europea, sta tornando il fascismo del secolo scorso. La mia risposta è che, nonostante ci siano ovvie somiglianze, vale la pena dare uno sguardo alle meno ovvie differenze.

Negli Anni 20, il fascismo ha preso piede in Europa come conseguenza della Prima Guerra Mondiale (e altri fattori) che hanno impoverito la maggioranza dei cittadini, come sta succedendo negli ultimi 40 anni a causa del neoliberismo. Però ai tempi non fu lineare: c’erano battaglie ideologiche ovunque che si contendevano il potere col fascismo (e il capitalismo), ad esempio l’anarchismo spagnolo o il socialismo sovietico nell’appena nata URSS. I fascisti dovettero prendere il controllo dell’esercito e gonfiarli di botte per prendere potere il prima possibile, eliminare gli avversari politici e tenerselo stretto.

Oggi non c’è nulla di questo. Tutti i partiti in Europa sono capitalisti (e quelli che non lo sono sono politicamente irrilevanti), quindi quelli fascisti non hanno alcuna necessità di controllare l’esercito o pestare i propri avversari politici. Possono semplicemente continuare a fare ciò che stanno facendo finché non saranno eletti al potere, e solo allora iniziare a smontare pezzettini di democrazia. I loro obiettivi non saranno “espandere i confini” o “creare una nazione forte e unita” come nel secolo scorso (o come in Russia oggi!), semplicemente far sì che la Fortezza d’Europa continui a operare e che i ricchi capitalisti siano liberi di agire (come ad esempio la Brexit, capolavoro del protofascismo contemporaneo). Il fascismo, in ogni sua forma, è sempre una conseguenza del capitalismo in crisi.

Nessun partito di sinistra attuale può impedire questa dinamica, poiché non sono in grado di risolvere le crisi del capitalismo. Nella migliore delle ipotesi possono ritardarne l’ascesa, ma finché esiste la crisi la minaccia sarà presente. Quindi “votare per un partito non-fascista” non è una cura, solo un lieve antidolorifico. Neppure la democrazia elettorale in sé può impedire ciò: l’esistenza di persone che accumulano ricchezze stratosferiche implica che esisteranno finanziamenti ai partiti che favoriscono l’accumulo di ricchezze (o la deregolamentazione), mentre i partiti che cercheranno di limitarli saranno annegati. Di conseguenza, i partiti non cercheranno più di raggiungere i voti dei cittadini direttamente ma solo indirettamente, ovvero rendendosi prima di tutto attraenti ai finanziatori che poi forniranno i mezzi economici per ottenere i voti. Certamente la democrazia è un valore che dovremmo difendere, ma la democrazia elettorale E l’accumulazione di ricchezza nello stesso sistema non sono che una ricetta per l’oligarchia.

Se l’intero circo fascista è sorto e tramontato tra il 1920 e il 1940, in questo secolo sarà più lento e incrementale. Forse sarà dal 2020 al 2060, o ancora più in là.

IN BREVE sì, il fascismo è in ascesa, ma il panorama politico è così diverso che non si ripeterà nello stesso modo del secolo scorso.


Today a friend asked me if Europe, and specifically the European Union, is seeing a resurgence of 20th century fascism. My answer is that, while indeed there are obvious similarities, it's worth taking a look at the less-obvious differences.

Back in the 1920s, fascism took root in Europe as a consequence of WW1 (and other factors) that impoverished the vast majority of people. However it wasn't linear: there were ideological fights all over the place that contended with fascism (and capitalism), for example anarchism in Spain or Soviets in the newborn USSR. Fascists had to seize state military and beat them to a pulp in order to take power as fast as possible, eliminate every political opponent, and then keep a hold onto it.

Nowadays, there's only some of that. European citizens are indeed being impoverished by the consequences of Neoliberalism, but every European party is capitalist (those who aren't are usually irrelevant) so there's no need for any fascist party to seize power, military or beating their opponents to a pulp. They can just keep doing what they do until they're voted into power and then slowly erode democracy from within, while their main concern won't be “expanding borders” or “creating a national identity” as in last century (or current Russia!) but just keeping the Fortress Europe standing and make sure wealthy capitalists have their way. Brexit was (is?) the prime example of this, the prototype of contemporary fascism.

On top of that, no left party can prevent this since they're unable to solve the crisis of capitalism. At best they can delay fascism, but as long as the crisis is there it will always be a threat. So “voting for nonfascist parties” is not a treatment, just a mild painkiller. Electoral democracy as a whole cannot prevent it either: the existence of people that accumulate unreal wealth means that they are going to fund the political campaigns of parties that favor wealth accumulation (or deregulation) and flood out the parties that are against it. As a consequence, parties will no longer try to appeal to people to get their votes directly, but only indirectly, i.e. by appealing to the sponsors who then provide money to get them votes. Democracy is something we should seek to uphold, but the combination of electoral democracy AND wealth accumulation is just a recipe for oligarchy.

If the whole fascist circus got played between 1920 and 1940, in this century it might be way slower and incremental. Maybe it will take from 2020 to 2060, or even longer.

TLDR Yes, fascism is on the rise, but the political landscape is so different that it won't repeat itself in the same ways of last century. Fascism is always an epiphenomenon of capitalism in crisis.

  • Andrea “Clockwork” Barresi

As a self-proclaimed solarpunk, I'm always keeping an eye out for new publications by Italian authors. So my attention was caught by Vegumani, written by Sardinian author Clelia Farris and published by Future Fiction in summer 2022. One of the novel's editors is none other than Francesco Verso, pioneer of the genre in our peninsula, author of many Italian anthologies and founder of the above mentioned publisher.

Expectations

Even before opening the book, the reader has a clear idea of what they want to see: a future reclaimed, told from the perspective of an author whose origins are always further away from the mainland and that very few have managed to successfully convey (Grazia Deledda, Michela Murgia). A future that deals with the very present conflicts of water shortage, infrastructural uncertainty and a never-solved fracture between Italy, which has used the island of Sardegna as a minerary and military colony for centuries, and the Sardinian traditions that have always lived their own life in popular legends.

Plot

A Sardinian village faces desertification and a persistent drought, against which the villagers have only found temporary solutions: water rationing, precision agriculture and shelter from the lethal sun. Despite these measures, many begin to look for alternatives; roads to the North, more temperate and with better living standards, where living doesn't lock one in a struggle against the surrounding environment.

The plot is centered on a sunscreen, invented by the main character Gazania, which temporarily turns skin into photosynthetic bark and extends roots that can take nutrients from the soil. There are drawbacks, however: who uses it lulls into a non-communicative state of elation for days and neglects all biological and social functions.

Despite the very interesting premise, this is immediately undermined by the fact that Gazania has invented this sunscreen before the story begins; we're not told much about its discovery, only that many in the village are already using it. Gazania is then trying to talk people off the concoction while she conducts further tests to learn about its properties. With a scientific background myself, reading about a character that not only uses her fellow citizens as guinea pigs but that also needs to study her own invention before safely spreading it does not look very professional, realistic or solarpunk.

Many other solarpunk themes are barely mentioned. One that struck me was the potential conflict within Astarte, the food cooperative where Gazania works, which faces the harsh choice between reducing production (since many workers are relocating North) and asking those left to work more for the same compensation. Sadly, this conflict is not explored and fades into the background in a few pages.

Or also: when a wheat field is set on fire, the community does not come together to investigate and find the culprit or put measures in place to prevent such mishaps from happening again. Instead, the culprit spontaneously confesses in the span of ten pages, putting aside any possible inquiry on how would a solarpunk society deal with such disruptive events.

The characters, beside the protagonist Gazania and the antiwork Asfodelo, are easily forgettable and often not very realistic. Main culprits are the two kids, initially presented as lively but cute, only to then run into the desert for no apparent reason, thus forcing the entire village to set out to bring them back, and Nonna [lit. Grandma], which suffers from the usual Uchiha Syndrome: an ambiguous character that flips between positive and negative according to what plot twist fits the story better.

The Seitan Pork

Of the many shortcomings such an approach to solarpunk has, I have to dedicate a paragraph to the most infuriating part: the Seitan Pork.

“Where did they find a pig?” Gazania asked. Metis smiled and whispered to her ear: “It's seitan.” *Gazania inspected the white and tender meat in her friend's dish: it really looked like animal meat. “Amegilla prepared the dough and Xilo modelled it. Skin is made of thinly spread mopur.” The guests chewed enthusiastically, but Grandma, further away, had pushed off the cork tray and suckled on a mygale's roasted leg.

I want to immediately state that veganism is not the infuriating part: I respect such life choices. But in this case we're in a drought-stricken island where water is rationed to the milliliter; producing 1kg of wheat requires around 650L of freshwater (without taking into account the need of dedicated monocultures, generally harmful for the landscape and fertilizer-hungry). In order to turn it into seitan, the yield halves (1kg of flour gives 500g of seitan), and he process requires a long kneading under running clean water; which takes us to a freshwater cost of around 1400L per each kg of seitan. In comparison, 1kg of pig meat requires 1850L of freshwater, without taking into account the positive externalities of having pigs in a farm, known as prime organic waste disposers. It's not about animal ethics: for a village with severe water issues, mimicking a pork with seitan is still a massive waste. But this is never taken into account; drought is rarely part of the choices, only part of the setting.

This might look like a nitpick, but I think it's a crucial example to show how the book never gets deep enough to explore the meaning of the elements at play; it always stops on the surface, just like the floral names of the otherwise flat characters. A list of futuristic “eco-things” that never explore the material reality of a place that struggles against a condition that billions of people face today, and that at the same time fail to inspire the reader to a future capable of overcoming these obstacles.

Conclusion

I can't not say that I feel profoundly disappointed by this book.

Beyond the shallowness of the themes at play, the Sardinian heritage I had expected to see is barely perceivable. The plot isn't particularly convincing; very often I had the impression that events simply happen around Gazania and she rarely has the chance to make choices that really impact the fate of her community for the better.

This does not mean there are no positives, which need to be highlighted as well: first of all the author's vast knowledge of the botanical world, wonderfully conveyed through dialogues and descriptions. These are two of the strong points of the novella, always vivid, realistic and genuine.

Perhaps with excessive selfishness or bitterness, I would like to see more depth by the Italian authors within the genre. Italy (like Greece and Spain) is especially prone to all kinds of extreme events, many of which are already happening in these years; we should be on the forefront of these stories and experiences for the rest of the European audience. I expect more of these elements and less performativity in solarpunk coming from our language and lands.

To Clelia Farris and Future Fiction I ask: try again. The premises were great, but don't stop at the skin; be the roots that hold this book up and be brave enough to go deeper.

  • Andrea “Clockwork” Barresi

So I found this “cyberpunk story” written with an AI and it infuriated me so much that I decided to debunk it line-by-line. You can read it if you want, but you shouldn’t. I’m going to quote all the relevant parts of critique, and what I don’t quote, you’ll notice, is meaningless.


As they approached a bustling night market, Sarek couldn't help but wonder about the origin of Nyx's peculiar aura. Was it a consequence of the city's relentless grind, or did it hide a deeper, more profound secret?

Supposedly, Sarek knows Nyx. He wouldn’t wonder such things, or likely even not care about them. This is the AI just trying to bait you with fake mystery crumbs.

His cybernetic curiosity mingled with a growing sense of attachment, a connection that transcended the wires and circuits embedded within him.

What the fuck is a cybernetic curiosity??

Nyx's gaze met his, and for the first time, a subtle flicker of emotion crossed her features. It was a momentary glimpse into a world hidden beneath the surface — a world waiting to be discovered in the neon-lit tapestry of their unfolding story.

There is no story thoughhhh

Sarek's cybernetic enhancements hummed with a subtle energy

Is he… purring?

resonating with the mysterious frequency that seemed to emanate from Nyx. They sat in companionable silence, the cityscape serving as a canvas for the unspoken connection between them.

The AI can’t imagine what this connection can be. It literally cannot. So it keeps hinting at it in the most vague possible way, and you, the reader, are baited to fill in the gaps.

Sarek broke the quietude, his voice carrying a mixture of curiosity and introspection. “There's something about you, Nyx. Something that my cybernetics can't quite comprehend.”

How does a voice carry introspection? What does it mean? What even are “his cybernetics” and why would they comprehend a person in front of him better than he can?

Nyx turned to him, her gaze meeting his with a newfound intensity. In that moment, the vacant expression she had worn like a mask dissolved, revealing a hint of vulnerability.

Out of the blue, and for no reason whatsoever, the woman is vulnerable. Expect the trope with the strong charismatic man taking the lead.

“I've been searching for answers,” Sarek continued, his cybernetic eyes reflecting the neon glow. “Answers about these enhancements, about the connection I feel with you.”

...and here it is. Also, can we stop spamming the words “cybernetic” and “neon”? I got it, he has implants, we’re in a cyberpunk setting. I don’t forget it every other paragraph, because as a reader I have memory; but the AI doesn’t, so it needs to periodically remind itself that yes, we’re still in a cyberpunk world!

The cybernetic currents surged, weaving a tapestry of shared experiences that transcended the limitations of language.

This is supposed to be hinting at love, but it couldn’t be more vague. Which experiences? Are they feeling good, or grieving together about a past event? Are they frightened about some upcoming menace, are they being chased? None of this is told.

The cybernetics that bound Sarek to the city's clandestine secrets now resonated in harmony with Nyx's own mysterious essence.

In order to write proper mystery stories, you have to make the reader engaged, make them ask questions. Repeating “mysterious” and “secret” not only is not enough, but it makes the reader disengage.

Little did they know that the cybernetic currents that pulsed between them held the key to unlocking the secrets of both their pasts—a revelation that would reshape the contours of their intertwined narrative in the neon-lit tapestry of love and mystery.

Literally all I complained about so far, but mashed together and cranked to 110. Disgusting word salad.


By now we’re at the end of “chapter” three (they’re barely even paragraphs), and you should’ve noticed that nothing is really happening. There is no real dialogue, no actual events taking place, no one’s backstory or intentions are being shown and none of the characters is making any decisions. Had I been one of the guys writing fillers for Naruto’s anime, this shit would’ve been a godsend.


The following days found Sarek and Nyx navigating the intricate alleys and hidden corners of Night City, their connection growing stronger with each shared moment. Sarek's cybernetics, once a mysterious enigma, now resonated in harmony with Nyx's presence, as if they were two pieces of a larger, interconnected puzzle.

Again, zero details. What are they doing in these days that makes “their connection grow stronger”? Are they investigating on a dodgy corporate crime? Are they looking for some friend who has been kidnapped after a strike? They might be overcoming the challenges in their relationship as they face these obstacles, but since an AI cannot imagine the process of “initial state → confrontation → growth”, this can’t happen.

His inquiries led them through the underbelly of the city, where whispers of a clandestine organization reached his enhanced ears.

A vague enemy pops out of nowhere. I wasn’t even interested in how he found out about this place! Investigations are so boring that you can dismiss them with “his inquiries led them” and call it a day, apparently.

Nyx, ever the silent accomplice

Of course, she’s the woman in the story.

it was a convergence of fates written in the binary code that governed their cybernetic existence.

Another word salad. Sounds cool, doesn’t mean anything.

guided by the whispers in the code and the unspoken connection that bound them—a connection that held the key to unraveling the mysteries of their cybernetic origins and the love that blossomed amidst the neon-lit chaos.

I’m starting that if I reiterate all the points I made so far about these kinds of lines I will end up like the AI-sounding one. Repeat, repeat, repeat. All the LLM can do.

Sarek and Nyx, their cybernetic bond growing stronger

So this is a thing that just… happens. We’re not given any insight into how that happens, that’s not something an Ai can provide. What it can do is notice that in most stories the MCs get closer, and so these two have to, as well.

The duo's investigation brought them to a hidden data vault

I bet the very boring part where they could’ve caught a grunt and snatched the info about the hideout from them has not been included for a very valid reason!

Nyx, a silent accomplice

Sigh.

CipherTech's clandestine operations extended beyond cybernetic experimentation; they were architects of a grander scheme, manipulating the very foundation of Night City's reality.

This is supposed to be the scary/disquieting part, the climax of the story where the MCs find out the real purpose of the villain, which threatens their loved ones or dear places or their future. But there are zero details about it, so I don’t give a shit. Why should I give a shit about “the very foundation of Night City’s reality”, how does that mess with the MCs or any other element that I might’ve gotten attached to so far? It doesn’t.

Nyx, attuned to the currents of his emotions, stood by him, a steadfast presence in the face of the impending storm.

What impending storm? What is about to happen? Neither CipherTech nor OmniCorp (btw these are comically silly names for villains lmao) seem to have a step-by-step plan to do whatever, and even if they have I can’t know because it’s not being told in the story.


By the end of chapter five we realize the whole story has been built on the utterly embarrassing premise that a random person (remember, Sarek is not a head of state or a particularly important man, and if he is we’re not told in the story) has implants of unknown origin because two evil corporations want to fuck up the city. Make it make sense.


The revelation of betrayal had ignited a spark within Sarek, fanning the flames of rebellion against the corporate machinations that sought to control him.

The dude has not talked to anyone in five chapters. What kind of rebellion has he built? Who’s following him? Apparently only me and the pet woman, and not for long.

Sarek, his cybernetic enhancements glowing with an iridescent intensity, breached the digital defenses of CipherTech's mainframe.

So not only these dumbasses have no clear plan or reason to be generically evil, they even gave this random man the necessary tech to break their own system asunder. A villain this stupid shouldn’t even be able to ride a fucking bike, imagine threaten a city. But this is another rule of scifi: no author can write characters smarter than themself. We’re seeing the consequences of this in full right here.

Nyx, her silent presence a testament to their shared determination, stood by his side

We can read this as a summary of women’s roles in modern scifi, and in that sense it’s a scathing commentary. Unintentional satire by our pal ChatGPT, don’t give it credit!

The cybernetic enhancements they had bestowed upon him were but a small part of a grander design — a plan to mold a new breed of augmented individuals under the guise of progress.

Bet every single one of them can hack the company too!

CipherTech guards, enhanced with cybernetic augmentations of their own, proved to be formidable adversaries. Sarek, his own enhancements a testament to the merging of man and machine, met each challenge head-on, his movements fluid and precise.

This stupid ass company can’t even give their own employees better tech than they gave to a random man. But also: what did Sarek do exactly? Did he beat them up, did he dodge bullets faster than sound? Did he win a dance-off?

The AI, a digital amalgamation of intelligence and malevolence

Here it gets meta. An AI writes a story where the villain (who by the way has changed like four times through the story, but it was never important to begin with) is an evil AI. It’s not trying to scare you off, mind: it’s just the average villain of cyberpunk stories. And now it will be defeated in order to prove that the machine alone can’t compete against the machine/human hybrid.

Sarek and Nyx stood at the precipice of a cybernetic revolution, ready to rewrite the code of their intertwined destinies.

This just made me laugh. Literally you can cut-paste this line everywhere in the story and it doesn’t make a difference. When this happens, it means the line isn’t adding anything.

Nyx, it seemed, had been a prototype — an experiment that predated Sarek's own cybernetic enhancements. CipherTech, in their insatiable quest for power, had sought to create beings with the ability to navigate the digital tapestry of the city, transcending the limitations of mere mortals.

So the “prototype”, who has been useless for the whole story, turns out to be even more instrumental in the company’s demise. Talk about tech unicorns…


At the end of chapter seven the conflict has immediately vanished in the background. The city’s fate doesn’t matter anymore (it never has), it goes back to the two MCs’ “love” as it has been barely hinted in the first two chapters (they held hands, perhaps? It wasn’t even clear), after the female character has been shelved for half the story only to return as the hero’s prize.


It became apparent that Nyx, like Sarek, had been a victim of experimentation

One last time: notice here that the two characters are in the same condition at the beginning of the story, but one is “driven by newfound purpose” (the man) and the other is just… there.

Their journey led them to the edge of Night City, where the outskirts held the promise of a fresh start.

Wasn’t there a rebellion brewing somewhere? Instead they literally fuck off to the suburbs. This is some strong Ameribrain conclusion: get the bread, leave everyone else behind and build an isolated family away from SocietyTM.


NERO, in a 5m music video, manages to tell a better cyberpunk love story than this one. So at least you can enjoy something decent after this statistical parrot has murdered the meaning of cyberpunk.

  • Andrea “Clockwork” Barresi

— [🇮🇹 ITALIANO SOTTO] —

Within the political circles I’ve gotten in touch during my recent years, be they my circle of university friends or online solarpunk acquaintances, two beliefs are often tossed around with a mix of hope and dread. The first is that the current (western) social order, made of capitalist nation states conceding a modicum of welfare to some of their citizens, will cease to be relevant/dominant in the next few decades. Secondly, that we (politically speaking, but also as citizens) need to be ready to provide an alternative, possibly a non-capitalist and non-ecocidal one.

Now this word, “alternative”, is in itself powerful and menacing at the same time: both to the (fewer and fewer) enjoyers of the current social order, who have commanded us that there must be no such option for the last 40 years, and to us, because it’s still shapeless, imaginary and undefined. It causes disagreements on both objectives and pathways. It’s easy to imagine many alternatives, but much harder to paint one that is collectively shared.

Let’s start from the first one, though: collapse.

Some people more knowledgeable than me have already dissected the concept of collapse from many possible angles: historical, political, philosophical, literary and sociological. Jared Diamond, Michael Mann, Octavia Butler and John Grey are the first that come to mind. One thing I’ve learned so far is that its dynamics are different than what most of us imagine: not a sudden, loud crash with buildings crumbling, explosions, empty shelves, zombies and meteorites. Instead it’s slow, painfully slow. It took centuries for the Roman Empire to collapse. It took decades for the British Empire to crumble. So it might be that we are already living through collapse, one that is so slow that we aren’t fully aware yet.

For Europeans like me, and possibly even more for Americans, one first hint is that the aforementioned nation states are slowly but surely cutting back on everything they used to promise, for various reasons that depend on the specific country. From healthcare to infrastructure, from climate to energy, everything is sort of being neglected. If you noticed some of these where you live, welcome to collapse. And since we have to get used to it, let me try to generalize this feeling: it’s when fewer of your needs are met than before.

This was the core principle of the welfare state that has formed in Europe after WWII and the 1929 Wall Street Crash: workers’ unions demanded more rights and less wars, and with a continent to rebuild, countries agreed to meet the citizens’ needs, to take care of their health and education and infrastructure. In turn, the former would work and help the capitalists get their profits and keep the economy running. The Bretton-Woods Consensus was peak social democracy, and for ~20 years it looked like everyone won. Europe was (re)born. We thought we had figured out politics, and everything just came down to numbers and technical details.

Of course it wasn’t true, and the balance eventually got disrupted. Neoliberalism surreptitiously set in, and the concessions obtained by postwar workers started to wane. We’re currently living in the end tail of this process, where institutions that still feel like they’re working, like hospitals, schools, universities and utilities, are starting to show irreparable cracks and other newer fundamental infrastructure, such as telephone lines, internet or roads, aren’t even maintained by countries themselves but offloaded to (for-profit) private companies. The inevitable result is that fewer and fewer of our needs will be met. Information will be harder to access, education will be sloppier, healthcare will become more inaccessible and with longer queues; if you can afford them, that is.

From the perspective of an average citizen, like me and you, there are two main paths ahead: be content with less, just like peasants in pre-revolutionary France, not necessarily less stuff but less rights and less possibilities, less access to infrastructure that makes our life easier and safer; or refuse to leave our needs unmet and instead of waiting for someone else to fulfill them for us, create alternatives that will meet these needs regardless of institutions.

This is the prototype of alternative we should seek.

Local libraries, free independent internet points, printers, flea markets, urban gardens, impromptu theaters, water harvesting points: anything that can answer the question “how can this need be met for and others when its current provider will cease to provide it?”

We need to reorient the whole word “politics” to a strategy for meeting and balancing needs, a compass that the current political class has lost to the maximization of profit or personal power. This kind of “politics of needs” will hardly be at a national level, since different people have different needs and most importantly different priorities. We have to know each other and our needs in order to meet them accordingly and, most importantly, to compensate each other fairly.

A great example that comes to mind is psychological help. Currently, mental health is one of the most disregarded needs in a time where anxiety, depression and other disturbs are made more acute and widespread by a number of factors. Your options are either going to a private clinic and pay hefty sums for a number of sessions with a professional (which implies only wealthy people can meet this need) or waiting for months on end until your closest hospital has a tiny slice of time for an unthinkable amount of patients, of which he or she will likely lose track of, and will be able to meet you monthly, if you’re lucky.

Conversely, think of the case of “listen-spaces” in every quarter or town, where people of the community (with the help of ideally at least one professional, but not necessarily) make themselves available to listen and give personal advice to whoever requires it in their free time. Sure, it might be less clinically rigorous and offer less in-depth solutions, but the penetration among the population would make up for it.

Similarly, many kinds of other services could be “communified” in this way, like solar panels to produce carbonless electricity or warm up water, libraries, education and so on. These might not match the efficiency and reliability of a power plant, a city library or a university, but can nonetheless fill the void that will be left if these infrastructure cease to provide their services. And sometimes, something is better than nothing.

So, to whomever is dedicating their time to politics and wants to win over people to their cause: we don’t need to preach about ethics or theories in centuries-old books, but to ask people what are their needs and work towards meeting them. The aim should not be to overtake the ruling class and do better policies, but to become a different thing altogether, whose name and specific tasks I will leave to you to come up with.

This is our current, unseen need. Let’s figure out how to meet it.


Tra le cerchie politiche con cui sono entrato in contatto durante gli ultimi anni, siano esse il gruppo di amici dell'università o i solarpunk conosciuti su intenert, due credenze rimbalzano spesso con un misto di speranza e preoccupazione. La prima è che l'attuale ordine sociale (occidentale), fatto di stati nazionali capitalisti che concendono un certo numero di servizi ai propri cittadini, cesserà di essere rilevante/dominante nei prossimi decenni. Secondariamente, che noi (politicamente parlando, ma anche come semplici cittadini) dobbiamo essere pronti a offrire un'alternativa, idealmente una non capitalista ed ecocida.

Ora, la parola “alternativa” racchiude in sé promesse e minacce al tempo stesso, sia per i (sempre meno diffusi) apprezzatori dell'attuale ordine sociale, che hanno imposto l'assenza di tali alternative per gli ultimi 40 anni, sia per noi, in quanto senza forma, immaginaria e indefinita. Causa disaccordi su obiettivi e modi per raggiungerli. E' molto facile immaginare molte alternative, ma assai più difficile individuarne una che sia condivisa da tutti.

Iniziamo però dal primo punto: il collasso.

Alcune persone molto più esperte di me hanno già analizzato il concetto di collasso sotto vari punti di vista: storico, politico, filosofico, letterario e sociologico. Jared Diamond, Michael Mann, Octavia Butler e John Grey sono i primi che mi vengono in mente. Ciò che ho imparato da loro finora è che le dinamiche del declino sono diverse da ciò che comunemente immaginiamo: non è un evento impressionante, uno schianto fragoroso costellato di case che crollano, esplosioni, scaffali vuoti, zombie e meteoriti. E' invece un processo lento, dannatamente lento. Sono passati secoli prima che l'Impero Romano collassasse. Sono serviti decenni prima che l'Impero Britannico perdesse presa sul mondo. Quindi è molto probabile che stiamo già vivendo l'esperienza di una società che collassa, ma che non abbiamo ancora l'acutezza per rendercene conto.

Per gli europei come me, e forse ancora di più per gli anglofoni oltreoceano, un primo indizio di ciò è che i sopracitati stati nazionali si stanno lentamente rimangiando tutte le promesse fatte nei decenni precedenti, per varie ragioni che dipendono da paese a paese. Dalla sanità alle infrastrutture, dal clima all'energia, tutto sta venendo abbandonato a se stesso. Se avete notato alcune di queste negligenze nel luogo in cui abitate, benvenuti nel collasso. E siccome dobbiamo abituarci, lasciatemi provare a dare una definizione a questa sensazione: è quando sempre meno dei tuoi bisogni vengono soddisfatti.

Questo era il principio cardine dello stato sociale che è diventato popolare in Europa dopo la Seconda Guerra Mondiale e la Crisi Finanziaria del 1929: i sindacati e i lavoratori chiesero più diritti e meno guerre, e con un continente da ricostruire i paesi hanno acconsentito a soddisfare i bisogni base dei cittadini (ad esempio fornire assistenza medica, educazione e infrastrutture). In cambio, i primi avrebbero lavorato e aiutato le aziende a racimolare i loro profitti, mantenendo l'economia attiva. Il Consenso di Bretton Woods fu il trionfo della socialdemocrazia, e per circa vent'anni sembrò una vittoria unanime. L'Europa era (ri)nata. Credevamo di aver risolto la politica, e che tutto il resto fossero dettagli e numeretti da aggiustare in corso d'opera.

Ovviamente non era vero, e l'equilibrio si spezzò. Il Neoliberismo entrò di soppiatto nei palazzi di governo e le concessioni ottenute dai lavoratori del secondo dopoguerra iniziarono ad affievolirsi. Stiamo tuttora vivendo nella fase finale di questo processo, in cui le istituzioni che ancora sembrano funzionare (ospedali, scuole, università e forniture) iniziano a mostrare crepe irreparabili e le infrastrutture più recenti (linee telefoniche, internet, strade) non sono quasi più appannaggio dello stato ma appaltate ad aziende che cercano il profitto. Il risultato inevitabile è che sempre meno dei nostri bisogni verrà soddisfatto. Sarà più difficile accedere alle informazioni, l'educazione sarà più approssimativa, le cure mediche diventeranno sempre più inaccessibili e con tempi d'attesa sempre più lunghi; se ce le potremo permettere, addirittura.

Dal punto di vista di un cittadino qualunque, come me e te, la strada si dirama in due sentieri principali: accontentarci, come i paesani della Francia pre-rivoluzionaria, non necessariamente di meno averi ma di meno diritti e meno possibilità, minore accesso alle infrastrutture che hanno finora reso le nostre vite più sicure e confortevoli. Oppure rifiutare di lasciare che i nostri bisogni vengano disattesi e anziché aspettare che qualcuno li soddisfi per noi, creare alternative che colmino il vuoto indipendentemente dalle istituzioni decadenti.

Questo è il prototipo di alternativa a cui dovremmo puntare tutti.

Librerie di quartiere, punti di accesso a internet liberi, stampanti, mercatini dell'usato, giardini urbani, teatri improvvisati, punti di raccolta dell'acqua: tutto ciò che può rispondere alla domanda “come potrò procurare questa cosa per me e i miei cari quando chi me la fornisce ora smetterà di farlo?”

Dobbiamo ripensare dalle radici la parola “politica” e riorientarla a una strategia per soddisfare e bilanciare i bisogni delle persone, una bussola morale che l'attuale classe dirigente ha perso in favore della massimizzazione del profitto o della conservazione del potere personale. Questo tipo di “politica dei bisogni” difficilmente sarà applicabile a livello nazionale, siccome persone diverse hanno bisogni diversi e soprattutto priorità diverse. Dobbiamo conoscerci e conoscere i nostri bisogni per soddisfarli propriamente, e ancora di più per compensarci adeguatamente.

Un esempio pratico che posso fare è quello dell'assistenza psicologica. Attualmente la salute mentale è uno dei bisogni meno considerati, in un'epoca in cui ansia, depressione e altri disturbi sono resi più frequenti e diffusi da svariati fattori. Le opzioni che abbiamo sono o andare da una clinica privata e pagare laute somme per un certo numero di sedute con un/a professionista (il che implica che solo le persone benestanti potranno soddisfare questo bisogno) o attendere mesi per farsi assegnare unå psicologå dell'ospedale più vicino che potrà riceverci per un tempo risicato e dovrà dividere le sue visite tra dozzine di altri pazienti e, se siamo fortunati, potrà visitarci una volta al mese.

Al contrario, immaginiamo uno spazio d'ascolto in ogni quartiere o città, in cui la gente del posto (idealmente con l'aiuto di almeno un professionista, ma non necessariamente) mettono a disposizione il proprio tempo libero per ascoltare e dare consigli personali a chi li richiede. Certamente sarà un'opzione meno clinicamente rigorosa e le soluzioni non saranno a prova di bomba, ma la penetrazione tra i cittadini lo renderebbe comunque un servizio desiderabile.

Allo stesso modo, tantissimi servizi potrebbero essere “messi in comune”, come i pannelli solari per produrre energia pulita o riscaldare acqua, librerie, educazione e via dicendo. Queste non devono avere lo scopo di eguagliare o superare l'efficienza di una centrale elettrica, una biblioteca cittadina o un'università, ma possono comunque riempire un possibile vuoto nel caso in cui la fornitura di questi servizi cessasse. E talvolta, qualcosa è meglio di niente.

Dunque, a chiunque stia dedicando il proprio tempo alla politica e vuole convincere i cittadini alla propria causa: non dobbiamo fare proselitismo su etica o teorie di libri dello scorso secolo, ma chiedere alle persone quali sono i loro bisogni e lavorare per venire loro incontro. L'obiettivo non deve essere sostituire la classe dirigente per fare politiche migliori, ma diventare qualcosa di completamente diverso il cui nome e compiti lascerò a voi come riflessione.

Oggi è questo il nostro bisogno invisibile. Troviamo un modo per soddisfarlo.

  • Andrea “Clockwork” Barresi

It's been four years since I've started reading No Logo and explore the worlds of politics, economics and ideologies. Since then, many books, thinkers and friends have inspired me and helped me grow in awareness and figure out the path I want to follow in life. This is just a humble attempt at sketching out my current political vision. Who knows how it will change in time.

Ideals

I call myself a solarpunk, which I like to think as a blanket term just like “socialist” was 150 years ago. I believe in an equal and just world, where everyone is respected and allowed to pursue anything they deem worthy no matter their gender, ethnicity, religion, appearance, nationality, disabilities or education. I would include beliefs, values and status (economic or political), but I do think there are two example categories that can disrupt such a society: the fascists and the rich.

This is according to the Tolerance Social Contract: if someone does not abide by its terms, they are not covered by it. Fascists are *not tolerant of genders and ethnicities; they break the contract and therefore they are excluded by it. The wealthy (economically or politically) also break the contract, by exploiting the less wealthy and therefore undermining equality. They are also not covered by it. An initially equal society that includes either fascists or wealthy will, at some point, lose its equality. Without a mechanism to prevent them from breaking the contract, equality will degrade and lead to forms of authoritarianism and oppression.

Action

At the end of the 19th Century, Gaetano Salvemini realized that in order to involve southern Italians politically, they first had to achieve literacy. Without the ability of reading and writing, they wouldn't be able to understand how to defend their rights and how to read between the lines of political propaganda. Literacy was (and still is) key on the path to class consciousness, the prime skill to interact with ideas and culture.

Today, literacy has been widely achieved across Europe, with few and isolated exceptions. Yet the political literacy is at an all-time low, with citizens disconnected from party politics and worse, from their communities and environments. This is by design: car-centric urban planning and digital infrastructure in the last 50 years have been set up in a way to make most of the population functionally illiterate, unable to interact not only with ideas and culture (despite formal literacy) but with each other, the nature around us and the virtual world we spend most of our time in. Think about how hard is to make new friends after university, or after moving to a new place. Think about how uncomfortable it is to reach the closest national park. Most of us can't build their personal site or keep their online data safe.

The prime political action of any proper solarpunk is therefore to educate, in three directions mainly:

  • Politically, to undo the “profit-first” paralysis that most citizens are stuck in;
  • Ecologically, to think and plan in a way that takes into account the environment around us and ourselves as just one part of it;
  • Digitally, to ensure that information stays widely and freely accessible for everyone.

This can be done in many ways: journalism (reporting good practices, exposing malpractices), activism, mutual aid, cultural production (stories, videogames, music, art, etc), workplace organizing, for example.

End goals

  • Free public transportation
  • Free access to education and information
  • Affordable healthcare (including mental health)
  • Mutual aid networks
  • Freedom of association
  • Workplace democracy
  • Local Citizens' Assemblies
  • Social Justice (vulnerable people are assisted)
  • Cyclicality (zero waste, zero emissions, etc)
  • Biodiversity restoration
  • Digital freedom (decriminalization of piracy, no data scraping, etc)
  • Assistance & reparations to the Global South
  • Abolition of rent
  • Abolition of prison
  • Abolition of borders

“Do what you have to do, come what may”

  • Andrea “Clockwork” Barresi

Being a PhD student, I'm never going to skip an event where there might be free food and an excuse to be away from the office. This time it was for India Day, organized by my institution and the Embassy of India in Poland. My aim was to snoop around and maybe snatch some new recipes from other Indian students so that I could try cooking them myself at home. The whole thing immediately turned out to be some sort of “promoting tourism” kinda thing, with way too many short videos about Indian luxury, monuments, yoga and other tacky things to get a wealthy European's attention. Definitely out of a PhD student's pockets, you know.

Fast forward to the chat with a group of students in front of a warm cup of masala tea. Despite the lack of booze, I went fully political and started telling them that in some aspects, India is culturally more advanced than Europe.

At first they were baffled, and they guessed that I was saying so because of their long history and religions and traditions; but I really meant that they've been experiencing collapse for much longer and with much stronger intensity than most European countries. Sure, Eastern Europeans have had such a shock when the Soviet Union fell apart, but it could never compare to the tragedies unleashed by the British Empire in India.

So I tried to make the example of the current Mediterranean drought: being Italian, I've spoken with many fellow countrymen and I have only seen three types of answers concerning the topic of water:

  • “It will rain at some point”
  • “The government needs to do something”
  • Short-circuit and lack of answers.

As soon as I finished saying this, this Indian girl immediately sprung up: “So why don't people get together and do their own alternate thing?”

She nailed it, right on the head.

She had it in her, instinctively, a purely cultural response that I couldn't have gotten from any Italian or Polish or European person that isn't already radically committed to the climate cause.

This mindset, this cultural trait that Europeans sorely lack, Indians have it in troves. They know what it means to be knee-deep in a crisis and having no one of the powers-that-be listen or care about you, and they've known that for centuries. Through such strife, they developed this skill at a local level: a collective bottom-up power to directly deal with the problem at hand. In Europe, we either forgot how to do it or don't have it at all. We're running around with out mouths full of electric cars and green technologies, but the real cultural advancement is somewhere else entirely.

By now you should've realized that it is not progress; it's an illusion of progress that our western brains will never spontaneously abandon, because it would mean admitting that a “poorer country” is “better than us” at something. It would mean giving up the self-assigned role of “cultural elites” that the US and Europe have always pretended they had.

But without listening to the Global South, without learning this same skill honed through decades of struggles, we won't get out of the climate crisis. No matter how many more money we think we can throw at it compared to other countries.

Eventually I went home with no recipes for my kitchen, but a damn good one for our future.

  • Andrea “Clockwork” Barresi

— [🇬🇧 ENGLISH BELOW] —

L’Unione Europea ha finalmente approvato il divieto di vendere auto a combustione interna a partire dal 2035, con l’obiettivo di ridurre le emissioni del settore automobilistico del 55% sulle nuove vendite entro il 2030. Una legge tanto attesa dai movimenti ecoclimatici: il trasporto su gomma causa infatti il 74.5% delle emissioni del settore dei trasporti (sette volte tanto l’aviazione), ed è pertanto un’area in cui gli interventi di decarbonizzazione saranno cruciali. Fortunatamente, alcune soluzioni tecnologiche già esistono e sono da decenni alla portata delle grandi case automobilistiche.

Il governo italiano si è però recentemente schierato contro questo nuovo limite europeo: secondo il Ministro degli Esteri Antonio Tajani e vari altri politici italiani, sarebbe un provvedimento troppo accelerato, che non darebbe sufficiente tempo alle industrie italiane di adeguarsi. L’affermazione di Tajani sorprende, in quanto il testo della legge è stato stilato in accordo con le grandi case automobilistiche europee (fra cui Peugeot, Mercedes, Ford e varie altre). Volkswagen punta alla vendita di sole auto elettriche entro il 2033.

L’industria automobilistica europea è infatti attualmente in affanno: quattro anni di covid, crisi logistica delle componenti e inflazione hanno reso l’acquisto di auto nuove un lusso fuori portata per molti cittadini. La transizione a un parco auto completamente elettrico rappresenta la speranza che il settore automobilistico possa riprendersi investendo sulle nuove tecnologie e rendendole più economicamente accessibili ai consumatori.

Grafico della previsione attuale di vendite del settore automobilistico europeo, in calo del 4% annuo. In alto: vendite complessive previste nel periodo 2022-2042. > Fonte dati: statista.com

Il governo italiano sostiene inoltre che il nuovo provvedimento europeo favorirà la presenza dei produttori cinesi sul mercato automobilistico elettrico: anche questa è però un’affermazione fuorviante, in quanto la Cina è la principale destinazione di vendite automobilistiche per i produttori europei, senza però avere esportazioni significative. La produzione delle grandi case orientali infatti è concentrata sul mercato interno, e nel 2022 solo l’11.5% delle auto prodotte in Cina è stato venduto oltremare, principalmente in India e altri paesi asiatici limitrofi. Anche il cittadino medio può notare l’assenza di automobili cinesi nelle strade italiane (quante marche di auto cinesi conoscete?).

Grafico delle vendite di automobili nel 2021, in milioni di unità. > Fonte dati: statista.com

Dal lato ecoclimatico, nonostante sia positivo, il nuovo divieto europeo rimane su una scala di tempi che non coincide con l’urgenza della crisi climatica. Né con le politiche delle grandi città europee, che sempre più puntano a ridisegnare il tessuto urbano per offrire più spazio a mobilità pubblica e sostenibile, rimuovendo autostrade, parcheggi e infrastrutture autocentriche. Il provvedimento fa inoltre affidamento sulle leggi di mercato (produrre più auto elettriche, secondo la famosa massima di domanda e offerta, dovrebbe aumentare la competizione e dunque ridurne il prezzo), le quali però si sono già rivelate fallimentari in passato.

In breve, è probabile che questo divieto non sarà sufficiente per ridurre le emissioni globali, specialmente se le case automobilistiche sfrutteranno l’occasione per vendere i propri “carbon credits” ad altre aziende fossili, permettendo a queste di continuare a emettere impunemente. Saranno inoltre necessari ulteriori provvedimenti per impedire l’obsolescenza programmata delle batterie delle auto, per impedire che i consumatori siano costretti all’acquisto di auto elettriche la cui vita su strada è limitata dalla durata delle singole componenti.

Mobilità efficiente: in termini di energia richiesta e velocità media, nulla batte la bici. Confronto con le auto elettriche. > Fonte dati: statista.com

La tanto vituperata transizione ecologica, a livello automobilistico e industriale, sta già avvenendo in tutto il continente. Tranne in Italia, la quale per incompetenza, poca lungimiranza o scelta politica rimane, ancora una volta, indietro.


The European Union has finally approved the ban on internal combustion car sales starting 2035, with the aim of cutting emissions from the automotive sector up to 55% on new sales by 2030. A long-awaited bill for the climate movements: wheel transport causes 74.5% of all transport emissions (seven times more than aviation), and it's therefore an area where decarbonization efforts will be crucial. Luckily, many technological solutions already exist and have been available to large car companies for the last decades.

The Italian government has recently attacked this new European policy: according to the Ministry of Foreign Affairs Antonio Tajani and other politicians, it would be too fast a policy, which wouldn't allow enough time to Italian industries to adopt the technology. Tajani's statement is surprising, since the bill has been written after agreements with the main car companies of Europe (among which Peugeot, Mercedes, Ford and others). Volkswagen aims to produce only EVs by 2033.

The European automotive industry has been through a terrible handful of years: a global pandemic, a logistics crisis for components and spiralling inflation have made the purchase of a new car almost a luxury, out of many citizens' pockets. The transition to a fully electrical fleet represents the hope that this sector can bounce back by investing in new technologies and making them affordable for the general public. As is now well-known, EVs are not here to save the climate; they're here to save the cars.

Graph of the current forecast for European car sales, falling 4% yearly. On top: total car sales in the time window 2022-2042. > Source: statista.com

The Italian government also says the new policy will favour the presence of Chinese manufacturers on European markets. This is a misleading statement too, since China is the main export destination of European manufacturers without having much of an export itself. Eastern car-makers are in fact focused on their internal market, and in 2022 only 11.5% of Chinese-manufactured cars was sold overseas, mainly in India and other bordering Asian countries. The European citizens can see this for themselves down their own streets: how many Chinese cars do you spot, or know of?

Graph of global car sales in 2021, in millions of units. > Source: statista.com

On the climate front, despite welcoming positive news, the new ban is still on a time scale that can't match the urgency of the climate crisis. Nor the new policies of European metropolis, like Paris, Berlin, Madrid and London, whose aim is to redraw the urban landscapes to allow for more public and sustainable mobility, removing highways, parking lots and car-centric infrastructure. The policy also relies on the market (producing more EVs, according to the infamous dogma of supply & demand, should increase competition and therefore bring prices down), which has already proven itself a massive failure in the past.

In short, it's likely that this ban won't be enough on its own to significantly cut global emissions, especially if car manufacturers will take the chance to sell their carbon credits to other fossil companies, allowing them to keep emitting without batting an eye. More policies will be needed to prevent the EVs to be mired in planned obsolescence, so that the consumers won't be forced to switch their cars every few years because of battery failures. Again, replaceable batteries are a technology that already exists, but it sure doesn't sit well with car manufacturers when it comes to selling cars.

Sustainable mobility: in terms of required energy and average speed, nothing beats the bike. A comparison with EVs. > Fonte dati: statista.com

The much-vilified green transition, when it comes to the automotive and industrial sectors, is already underway in most of the continent. Except in Italy, which due to incompetence, shortsightedness or political choice lags once again behind.

  • Andrea “Clockwork” Barresi